Extreme Metal Music

HatePlow - Everybody Dies (1998)

2010-12-03T00:30:00.002+03:00

The first Hateplow album features fucking brutal death/grind songs that, compared to the second album, are a bit less impulsive and more death oriented. Being formed by members of Malevolent Creation too, sometimes the riffs are inspired by that genre and the production is very similar. Like in the opener, we have good alternation of grind blast beats with some heavier riffs. “Stalker” too is an example for what I said: mid paced beginning with a crescendo of intensity ‘till reaching the blast beats during the end. The musicians here know this kind of music very well so, nothing to say about the work: heavy, inspired and brutal. Riffs like in “Prison Bitch” are total Malevolent Creation inspired, with great bass sound, not too extreme, and great mid paced parts. On the other hand, we have total grind/death madness in tracks like “$20.00 Blow Job”, “Ante Up” (fucking great), “Denial” or “Anally Annie” with a great refrain screamed in both growl and scream styles. “Crackdown” has a total hardcore/grind madness riffage with moshing up tempo, while “In The Ditch” they show us a less raging approach, to break a bit the atmosphere. The power of the guitars sound is supreme and the drummer's ability creates always catchy/brutal tempos. All in all, a very good work by one of the best grind/brutal death metal acts nowadays. So, pals with moshing tendencies check this out. Blasting fury.

Genre: Death/Grind Metal
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Aborym - Psychogrotesque (2010) !!! High-Quality !!!

2010-12-02T15:57:00.001+03:00

In my book, from what I've seen throughout the years, Aborym is a love it or hate it band, now, concerning me, I've always concidered more or less their mechanized black metal a pleasant experience, neither awesome nor disgusting. Attila Csihar's contribution consisted of an important boost for the band that kept a steady course in blending electronics with black metal and they never stepped away from their connection with the norwegian scene, after Attila (I know he's from Hungary, Mayhem ain't) left Faust came in, along with Prime Evil of Mysticum fame. Four years passed since Generator and Prime Evil is no longer part of the band. The main figure behind Aborym, Malfeitor Fabban, deals with the vocals on the new album, Psychogrotesque, having brought in a new guitarist as well, Hell:I0:Kabbalus. Along with the basic trio you will find a wide variety of guest musicians on vocals, electronics, guitars etc, Narchost (Malfeitor), Karyn Crisis (Crisis), Giulio Moschini (Hour Of Penance) and Davide Tiso (Ephel Duath) to name a few. Psychogrotesque deals with acylum aspects of life and the cover artwork is spot-on on both the lyrical matter, the title and the vibes that come forth during the listening procession. I liked pretty much the single-lighted room, insomnia's always the best friend of a mentally awakened mind. Insects, carriers of plagues but of importance to nature as well, insects, this is what you'll notice in "I" as the albums slowly comes to life and in this case they're not for good, insects; and a pounding heart. I like Ill-natured atmosphere, I like it a lot and Psychogrotesque holds loads of it, it's sick enough to make my braincells gunshot one another until there's only one left standing; and you know where it can point the barrel at. This time everything seems well-conceived, well-composed and well-executed and in my humble opinion Aborym surpassed themselves with this attempt, it was one big step ahead so as not to keep up once again with the With No Human Intervention/Generator story. The electronics this time flirt with dark electro/EBM in a well-structured way ("II", "V", "VIII"), yet they keep the chaotic industrial edge amidst FX and sequences the band had on previous releases alongside floating keyboards. I like the samples, I like them a lot, they appear in the most ideal moment, alarm sound, breaking glass, voices, fading steps, iron doors, classical music, lullaby toy music, all those sounds fit in the exact moment they should and the slight use of Marcello Balena's saxophone just adds to the overall atmosphere ("V", "VI"). Of course the guitars are here once again, they couldn't be missing, nausiating solos, noisy suspending riffing, more static groundshakers and of course melodic harmonies, at the right time, in the right place, for the right reason. As for the vocal factor, a wide variety of sickening shrieks and demented recites/whispers ("IV"/"IX"), as well as clean interpretations with a different aura each time ("V", "VI", "VIII"), while Faust performs really well, offering either a mechanical or more organic sound, everything at its time, alongside the beat and the cold bass lines. Psychogrotesque is the amusement park of dementia, a movie-like horrifying sound existence better served as a whole for it's an entity, a foul one, the big step ahead in the open cliff. review from here

Genre: Avantgarde Industrial Black Metal
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Flaying - Commandments-Violated (2006)

2010-12-01T22:34:00.000+03:00

These guys got together in 2001. Then they started doing gigs as an opening act for notorious bands like Cannibal Corpse, Impaled Nazarene, Vader, Dismember, and Rotten Sound among other notables. Musically this is a mix of ¾ Brutal Death Metal and ¼ Grindcore. The initial groin kick I get is from the bass, which is a little backwards for me cause I like guitar and vocals first. Karlis’ bass playing has an infectiously enraged zip… In other words it sounds like a bass, not a distorted guitar. On guitars Viktor and Viesturs are tighter than a first time anal penetration of an Amazonian hottie. Plus they solo and inject some neat hooks and guitar licks into the music giving it a charge of uniqueness. The drums hold the rhythm together quite well and Evgenij offers a sick variety of blast beats, fills, and technicality to the band. Vocally the listener gets a double shot of perversion. First come the patented deep vocals that sound like a daemon hammering your eardrum. At the same time the listener gets violated by a gargling voice that sounds like a combination of Black Metal and Grindcore styles. The music is played with real passion, and the production is solid. Cooler still are the guitar solo’s that add an uncommon touch to a genre of Metal that sometimes seems too rooted in traditionalism. Good-Fucking-Stuff!!!!

Genre: Technical Brutal Death/Grind Metal
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HatePlow - The Only Law is Survival (2000)

2010-11-30T23:50:00.002+03:00

For years this album has stood in my collection as one of the proud members of an elite club. That club is reserved for records which I consider to be the very best; succeeding along many lines of criticism. Among few others "The Only Law is Survival" is one CD that I listen from beginning to end and appreciate every minute of. For those of you unfamiliar with Hateplow they are a side-project of members of Malevolent Creation. In fact, the only line-up differences between TOLIS (2000) and Malevolent Creation's "Envenomed" (also 2000) are Doug Humlack on bass and Kyle Symons on vocals. Symons later became the vocalist for Malevolent and appeared on albums "The Will to Kill" and "Warkult". Now you have the background. Like Malevolent Creation, Hateplow play a death metal in the Florida vein. The songs are catchy, memorable, short and relentless! In fact the major difference between the two bands, which share most of the same members, is Hateplow's emphasis on ferocity. As such, they are often labeled "grind", appropriately, however I think Hateplow pay more attention to song structure than most grindcore bands I've heard. The guitars are simple, straightforward and punishing. Their function is to create a cohesiveness between fast riffs and fast drumming. The drums, performed by none other than Dave Culross, are pummeling and to the point. The vocals are what I call a "power growl". They are intense, delivered with great power and focused on such, rather than depth or gurgle. The end result is an album completely focused and sharpened like an edged weapon. In intensity and power, "The Only Law is Survival" is up there among such great death metal gems as Vader's "Litany" and Suffocation's EP "Despise the Sun". It achieves the label that so many throw around indiscriminately: "FUCKING BRUTAL". If you don't have it, buy it, it is well worth full price!!! (SOURCE)

Genre: Death/Grind Metal
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Liturgy - Dawn Of Ash (2004)

2010-11-30T22:28:00.002+03:00

Liturgy is one of the thousands and thousands of Yankee brutal death metal bands that have spawned during the beginning of 21st century because they heard some Suffocation and wanted to kill like they do. This band however is not "just another brutal death band", Liturgy consists of members from couple better known bands which are Brodequin and Disgorge (US). As a matter of fact there's the entire Brodequin crew (Jon Engman and the Bailey brothers) on instruments and the former Disgorge vocalist Matti Way is fronting...and that's exactly what the band sounds like anyway: Brodequin clone with Disgorge vocals. The instruments are pure Brodequin worship and Matti does those gurgling gutturals as always. Overall this album is fucking brutal. The music is insanely fast and blasting and then there's some midpaced beatdown sections serving out some more brutality. Liturgy's guitar style is without a doubt similar to Brodequin in this way. Most of the time Mike Bailey goes for real fast and brutal technical riffs which are indiscernible because of the downtuning (what makes it even worse is that many of these "technical" riffs are pretty much ENTIRELY palm muted) but every once in a while he would throw in a heavy and punishing breakdown riff. There's less of the slow parts than you usually hear from Brodequin but other than that there isn't virtually any differences between this band's and Brodequin's sound. There's a whole lot of tremolo picking here... obviously in the fast parts but also in some of the midpaced sections, for example listen to that riff in Scars Of The Saints at 1:25 with that nice groove in it and all. The bass is inaudible and completely drowned under the guitar though that's pretty usual in modern brutal death metal. The drums are pretty Brodequin/Disgorge as well since the only beats on this album are blast beat and slam. There's insanely fast finger technique blast beats all through the record and when it's time for the slower parts, this guy does crazy double bass in support. Well here's another question to help you decide: do you like Brodequin? If you said "FUCK YEAH MAN!!" then by all means buy this! Your opinion towards this band depends entirely on how much you like Brodequin. But if you answered "nah...not really" or just plain "NO" then....just get the fuck out of here. (SOURCE)

Genre: Brutal Death Metal
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Cerebral Incubation - Asphyxiating on Excrement (2009)

2010-11-26T20:47:00.001+03:00

I can make all the standard parallels here from a rawer form of Devourment (is that possible?) to Abominable Putridity to Cephalotripsy. It is non-stop pounding riffs, one after another, with much more of a “clean” production. The guitars are heavy but discernible and the bass just helps all the riffs sound that much heavier. The drums can be interesting at times and the blasting is competent and sounds good over the slower progression of riffs. Unlike most of the brutal bands, Cerebral Incubation rarely take a break with some incoherent shredding but plod through the whole album with riff after riff of heaviness. For fans of brutal death metal, this is one for the collection. For those casual listeners, this might be “too much” in the sense that it is non-stop mosh riffing with little in the amount of interludes. For those who hate this style, you will hate this too, maybe even more than the others. For you closet brutal death metal listeners, now is the time to come out and rejoice! Brutal death metal can be a guilty pleasure for you – it is not “intelligent, thinking man’s” death metal.

Genre: Slamming Ultra Guttural Brutal Death Metal
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Cerebral Hemorrhage - Exempting Reality (2001)

2010-11-26T20:06:00.001+03:00

First impressions by this album were, “holy fuck, I’m about to fucking nut!” This stuff is absolutely brutal, and most of all unique. I’ve never heard anything like this. Sure, there are many NYDM bands out there who go outta’ their way to experiment but the end result usually doesn’t end up having its pieces of experimentation flow or fit in with the brutal elements, but Cerebral Hemorrhage seems to do this quite well by adding jazzy-clean guitars layered over soft synths and bass guitars. The sound quality and production are pretty decent. There are some things that could use some improvement to make this album perfect, but overall it doesn’t fall short of being brutal and clear. The guitars are nice and thick with a nice touch of treble, the drums are nut-rattling, the bass is smooth, and the vocals are devastating. There are times when the vocals can be compared to Lord Worm from Cryptopsy and Frank Rini from Internal Bleeding’s old days. So what kind of style does this band play? It’s really hard to tell exactly or categorize them specifically by what they play - considering the fact that they utilize some spastic grind elements similar to Discordance Axis, jazzy passages similar to Cynic, unexpected time changes similar to Suffocation, eerie guitars reminiscent to Thorazine, and groovy slam riffs similar to Repudilation and Internal Bleeding. It is guaranteed this album will grab your attention and will receive many spins. The jazzy sections of Remnants of Final Solution and the dark and eerie vibes from Resulting In Homicide by hold its grasp on you and will not let you go. I find my death metal buds and I rewinding the tracks back to those parts a couple of times before we let the player play the rest of the song. Overall, this album is fucking album. You’ll be glad to stumble across this album, not only because of the quality of the material, but its rarity. Definitely recommend for you slam brutal death metal fans looking for something new or fresh.

Genre: New York Death Metal
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Human Parasite - Proud To Build The Insidious Catastrophe (2010)

2010-11-26T20:05:00.002+03:00

France’s Human Parasite isn’t doing anything remotely original on their full length debut, but their take on ultra-slammy, brutal, groovy death metal is well done and enjoyable. Opening with a sample of Alan Silvestri’s Predator score and a sample from the film, Human Parasite delivers 31 minutes of down-tuned, pig-squeal and double-bass-filled pinch harmonic romps that instantly reminded me of Suffocation, Devourment, Soils of Fate and mostly Destroy the Opposition-era Dying Fetus, but with a little more beefiness, especially when it comes to the breakdowns, grooves and the super-deep vocals of founder “Trash", who originally started the band as a one-man project and who does a solid John Gallagher impression.

Genre: Slamming Ultra Brutal Death
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Fleshgod Apocalypse - Mafia (2010)

2010-11-26T20:05:00.000+03:00

My absolute favourite part of this EP is the first second of opening track 'Thru Our Scars'. Man is it lary! 4 stabbing chords and a gravity blast. Like chucking a grenade into a room before the assault proper begins. And you know the drill with a band like Fleshgod Apocalypse, it is a veritable assault for the duration of the 3 original Metal numbers here. As predicted in my review of Oracles, the band have seen a healthy degree of evolution in the mean-time and are near to being the band I'd hoped. I say merely near because this is only an EP and a new album will be the true acid test. That evolution? Well, firstly the staccato riffing has been binned entirely. Praise be! Also gone is the overbearing similarity to Hour of Penance (they do still share a genre so I bet many will disagree there). The Classical elements are more numerous and seamlessly grafted into the brutality, they are still though, as far as Classically inspired Metal goes, understated and straight forward. There's an abundance of melodic lead work, as well as tastefully executed operatic clean vocals. Alongside these appetising upgrades the band has refined their sound as a whole and manage to combine all their elements cohesively, as let's be honest the debut was a little piecemeal. Here you can't see the joins. And these are long songs by Brutal Death Metal standards - 5:30 apiece for 'Thru our Scars' and 'Conspiracy of Silence', while 'Abyssal' clocks in at 6:45! And their durations work, thanks to the depth the enhanced melodicism provides. Their acknowledgement of Melodic Death Metal is underlined by the cover of At the Gates' 'Blinded by Fear' - I will use one word to describe this and that word is silly. The final piano piece is similarly superior to anything in the same vein on the debut. This is definitely more like it from Fleshgod Apocalypse, and despite its short length has me toying with declaring Oracles redundant. I would say the band have really discovered themselves here (another distancing factor vis-a-vis Hour of Penance) and if they can repeat the trick over 8 tracks, while keeping it classy, we'll be in for a treat my friends!

Genre: Technical Brutal Death Metal
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Fleshgrind - Destined For Defilement (1997)

2010-11-26T20:01:00.001+03:00

This is classic. Fleshgrind is one of the better death/grind bands in the scene today. Since this CD came out,they have undergone a lineup change which hasn't weakened them at all. DESTINED FOR DEFILEMENT is an angry CD featuring some great riffs and a band that's very together,able to stop on a dime at a moment's notice. All the songs on here are great; my favorites are "Whacked", "Burning Your World" and "Litany Of Murder."

Genre: Fuckin' Oldschool Brutal Death Metal
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Origin - Origin (2000)

2010-11-26T20:00:00.002+03:00

If that doesn’t tell you much about one of the most-adored, unmitigated, exceptionally singular and accomplished brains in death metal as a whole, then maybe you need a bit more info on who’s who of this quintet from the nether regions of existence. 1998 was the year when the creators of Origin, Mr Paul Ryan and Mr Jeremy Turner hit up an individual intension of framing something that had never been done before, that had never been even thought of, and hell, that can never be imitated by anyone else. Coupling their adept guitar thrashing knack and combining the thus obtained combative fury with Mr John Longstreth’s inexorable aggro-drumming animosity, Mr Mike Flores orgasmic basslines and Mr Mark Manning’s redefined vocalizing technique, Origin had risen up to a standard that’s not merely unthinkable, but unattainable too. Origin, as mentioned earlier, is a quintet. This is one of the chief reasons for the flawlessness of their music, as every band member can concentrate on his field of instrumentation in it’s entirety, including vocals. Like most fans of this band coin their music, Original death metal underlines the coherently formulated and meaningful work of ingenuity. What was once known as the Utopian grade of musicianship has finally been materialized by that stature of death metallers who have deeply and acutely understood death metal along with it’s very purpose. Suffice it to say, it’s only this stature of death metal that thrusts forward the genre to it’s Herculean extremities, and then some more. Nine songs of implicitly deviated lineament all packed into one CD of rip-roaring Original diatonic digest rising above the mighty forces of the Universe. Melody is out of question, get fucking slaughtered! (Original review)

Genre: Technical Brutal Death Metal
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Sadistic Torment - Unearthly Horrors (1996)

2010-11-26T19:59:00.003+03:00

Need no to write some words about the album, just see line-up and you will understand why I like it!

Vince Matthews - Vocals (Dying Fetus, Criminal Element)

Jake Tatarakis - Guitar (Criminal Element)

Sparky Voyles - Guitar (Misery Index, Criminal Element, Dying Fetus)

Sean Beasley - Bass (Dying Fetus, Garden of Shadows)

Brett O'Connor - Drums (Garden of Shadows, Algol)

Genre: Brutal Death Metal
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Houwitser - Bestial Atrocity (2010)

2010-11-26T19:58:00.002+03:00

Devastating Ultra Heavy Ultra Brutal Death Grind from the Netherlands featuring members of the mighty Sinister & others!! This album will kill!!!

Genre: Brutal Death Metal
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Wasteform - Designed By Disgust (2010)

2010-11-26T19:57:00.002+03:00

Greg "Tiny" Kennedy (Straight Jacket, Disciples of Berkowitz, Contempt) and Wasteform are back after 5 years of silence, NY's Wasteform unleashed their long awaited 3rd Full Length album! Crushing Heavy As Fuck Brutal Death Metal, Featuring 5 Brand new tracks with 2 Live tracks previously unreleased anywhere. 7 Tracks 30+ minutes! DON'T MISS!!!

Genre: Brutal Death Metal
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Flesh Consumed - Ecliptic Dimensions of Suffering (2010)

2010-11-26T19:55:00.002+03:00

Second full-length from this California band, whose ugly orchestrated tangle of noise is clearly influenced by the early '90s wave of U.S. and Canadian death metal.

Guests: Erik Lindmark (Deeds Of Flesh), Luc Lemay (Gorguts), Matti Way (Pathology, Disgorge (US))

Genre: Brutal Death Metal
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Putrid Pile - High-Quality Discography (Re-Post)

2010-11-26T19:54:00.000+03:00

Collection Of Butchery (2003)

Putrid Piles “Collection of Butchery” Is simply 12 tracks of extreme Brutality! The song construction is great down to the very last song and all the instrument are skillfully played and can all be heard perfectly well! Also Collection Of Butchery has an original sound, even thew it takes after a few bands it cant be labeled as similar to any of them, There sound is some-what original witch is a nice change. Surprisingly Putrid Pile is a one-man band and even thew they use a drum machine, which normally I find, on a cd of this genre is a bit of a let down…thew in this particular cd it sounds great! The overall sound production on the cd is top class with a very crisp and clear yet it also has a sick sound to it. Finally a sick ass Digi-art cover of some women cut to peaces by a guy, adds to the over all sick image of the release. The cd also comes with lyrics witch are often forgot on Death/grind releases! In my opinion this is surely one of United Gutturals better releases! This is a must by for anyone interested in sick Death/grind!!

The Pleasure In Suffering (2005)

I would be unfair to say that Putrid Pile's second full-length, 'The Pleasure In Suffering', is exactly the same album as their first. Since I'm feeling charitable, I'll say that it is ESSENTIALLY the same as their first. Never since Bolt Thrower have I heard a more infinitesimal change in style or quality from a death metal band, setting Putrid Pile somewhere in the realm of Cannibal Corpse as far as consistency goes. Aside from the production having gotten louder/clearer/'wider'/more distorted, quite literally nothing has changed at all between the two releases. 'The Pleasure In Suffering', like 'Collection Of Butchery', is the sound of Putrid Pile: fast, gory brutal death metal which employs a blasty more than filly drum machine and lots of tremolo riffs and big held chords, as well as low gurgly vocals and high shrieky vocals. It all sounds very eeeeevil and Death Metal with capital letters. It's very brutal because it's very fast, has extremely thick and bassy production, and is intentionally abrasive in essentially every regard. This is probably what non-metal people think of when they hear the words 'death metal'. It really is just 'Collection Of Butchery' part two. It even has the same number of tracks and a running time that differs by just over half a minute. Really though, did we expect anything more than that? Your enjoyment of this album is directly proportional to your enjoyment of the last one. I don't know about you, but I'm still starvin' for them baby brains.

House Of Dementia (2009)

The production is adequate, mainly highlighting the guitar. The drums clearly sound like a programmed drum machine, so that acoustic, organic sound is lost in favor of a triggered sound, but each drum is easily distinguished from the other (unlike, say, Brain Drill's "Apocalyptic Feasting") so complain I cannot. As stated before, the bass doesn't show up once, which is a gripe of mine that I have with this album. So, why does this album get an 85 from me if the drums sound clicky, the vocals are only average, and there's no bass to be heard? Because the songs flow so nicely into another, and the overall sound is just enjoyable and fun. Shaun LaCanne, along with Shawn Whitaker (Insidious Decrepancy, Viral Load), is the best one man band in the world, and he executes his vision so well that, despite the slight lack of originality, the music turns out great. If you like brutal death metal, check this out.

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Genre: Brutal Death Metal
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Absent - Audi... Vide... Sile (2005)

2010-11-26T19:52:00.002+03:00

Ladies & Gentlemen! I want to say that I'm back and now I'm ready to destroy you with my posts! Excuse me for my long absence. Well, now I finished publish my first post after long silence and it is album of great Poland brutal death group, Absent. You will not be dissapointed. I guess all brutal death fans love such bands like as Lost Soul, Azarath, and Absent remind me these groups. Sometimes like Behemoth as well, but Absent play faster and more brutally. It is raw, cold, furious and hateful album! Let the madness start my friends! Fuck off for any kinds of music, just brutal death & grindcore rulezzzzzz! Stay brutal and horns up!

Genre: Brutal Death Metal
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Aeon Of Horus - The Embodiment Of Darkness And Light (2008)

2010-08-03T17:19:00.000+04:00

Australians Aeon of Horus have created an impressive debut in the field of progressive death metal, a balance of chops and musicianship and the restraint required in concocting tight, focused tracks. Though this is a band of ability who can unleash polyrhythms and arpeggios when desired, they never wank off with displays of unnecessary technical wizardry. I often detect a slight math metal influence in the songs, in particular the chugging sections, which reminded me of Meshuggah, but these are the exception and not the rule. The album opens with "3C321", a collection of winding riffs, arpeggios and breakdowns which gets really interesting at its mid point with some of the faster paced riffs and the nice atmospheric break with the synthesizer and guitar lead. While decent, this is nowhere near the best on the album, as you'll notice soon enough when you hear the following "Conquering the Speed of Light", which features some killer speed/thrash riffs intertwined among the discordant breakdowns. "The Embodiment Part One: Of Darkness" features some killer drumming and a tense but reflective atmosphere, accented by some tasteful synth work. "Part Two" is just as good, if even busier, and has some of the better 'math' breakdowns on the recording. "The Pillars" is a nice acoustic track. The rest of the album is pretty consistent, with "Arrogantly Opposing Reality" and "As the Earth Shatters" also among my favorite tracks on the album. The sound here is very direct...nice and clean so you can capture every note on the album. The band are all impressive at their instruments, but as I mentioned before, it's their restraint and focus on creating adventurous, riff-by-riff compositions that makes this an album worth the time of any fan of technical and progressive death metal. The album's use of Egyptian mythos and cosmic lyrical themes are always interesting. The Embodiment of Darkness and Light is a well balanced attack, a very complete debut. It should see the band a good signing and some attention.

Genre: Progressive/Melodic/Technical Death Metal
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Age of Agony - War, Hate, Blasphemy (2005)

2010-08-03T14:08:00.000+04:00

Age of Agony are a Hungarian horde who worship at the altar of old school DM. Their members don Incantation and Suffocation longsleeves in the accompanying band shot (as well as an out-of-place Burzum one...) and the picture paints one thousand words. On their debut album, we are treated to unspectacular but authentic guttural death metal that is sure to impress any fan of the European underground scene. I would stop short of calling this brutal DM, but it's not a million miles away either. This work, including a captivating, epic eight-minute penultimate track, saw the light of day in 2005 via Karpatia Productions but was re-released by Terranis Productions in a 500-unit edition last December. It's an interesting listen.

Genre: Death Metal
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Putrid Pile - Collection Of Butchery (2003)

2010-08-02T00:13:00.000+04:00

Genre: Brutal Death Metal
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Skinless - Foreshadowing Our Demise (2001)

2010-07-31T23:54:00.001+04:00

A lot of people seem to not like this record, though I can't really see why as it's very solid NYDM. It's quite a step up from the band's first album, where the songwriting was a bit green and unmemorable. 'Foreshadowing Our Demise' seems to be packed with an almost limitless array of delightfully thuggish Dying Fetus-style chug riffs along with some deft tremolo and well executed, brutal vocals. It's a conventional album through and through, but it earns plenty of points in execution. The most important part of this album is its consistency. Every track has at least one excellent riff that's guaranteed to induce headbanging in all but the quadriplegic, and beyond that have an array of nearly as good ones which maintain interest throughout the song. The sense of pacing on this album is almost remarkable; though all the songs have the same general ingredients, they're arranged with a great sense of timing that keeps what in all probability should be boring and trite music exciting and interesting despite an entirely unoriginal aesthetic. The band maintains a careful balance between fast-paced blasting and tremolo riffing and grooving NYDM breakdowns that come in at just the right moment. Most of this album is predictable, but in a good way, as where you expect the song to go is where you genuinely WANT the song to go. Tension builds and is released at the correct intervals, vocals aren't too verbose but when employed are used very effectively, riffs are solid in every department, and drums are tasteful and as technical (or not) as needed by the rest of the music. The band has a great dynamic altogether on this release; it's a shame it's not appreciated for what it is more. At the end of the day, this is just another NYDM album, but it's a brilliantly executed take on the genre that just about any death metal fan should love. If you're particularly enamored with ultra high-speed, spazzy death metal, the amount of groove on this record will disappoint, but in general it's difficult for me to imagine people being unsatisfied with such a well composed and played release. Highly recommended for fans of NYDM.

Genre: Brutal Death/Grind Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Skinless - Progression Towards Evil (1998)

2010-07-01T22:17:00.000+04:00

'Progression Towards Evil' by Skinless has every thing you could want in a death metal album, Deep grunts, technical riffs, pounding drums, and unfortunately spoken introductions. Yes, the intros to the songs are probably the stupidest ones I’ve ever heard. The worst intros are in ‘Scum Cookie’ and ‘Milk and Innards’. The intro on ‘Milk and Innards’ is 40 seconds long which is enough to make almost anyone press the skip button. However, aside from the dumb intros this album is very good. Once you are listening to the actual song, you will forget the intro completely. The vocals are deep, brutal, guttural grunts that compliment the music perfectly. They are almost flawless, rarely are there any mistakes or signs of inexperience. The guitars are in the forefront of the music along with the vocals. The riffs are technical and very, very heavy. They are not as fast as they are in ‘From Sacrifice to Survival’ but they are still technical none the less. Simply put, it is not the best guitar playing, but it (along with the vocals) is what makes this music so brutal. The bass is barely if not at all comprehensible which is unfortunate since the bass could add to the heaviness. There are brief moments when the rest of the band has stopped in the middle of the song and the bass plays a riff for a couple of seconds so this should make up some for the bass being unheard most of the time. The drums are played very well. The double bass pedal is noticeable and relevant throughout the whole album. Now I’m no drummer, but I think I can hear a lot of blast beats throughout this album which sound good. The best drumming is in the song ‘Confines of Human Flesh’ which has fast double bass pedal and the snare and other drums are used a lot. So, this album is pretty good, but the intros just kill it. If this album was re-released with all the intros taken out it would be worthy of a 99% review. If you find this album for cheap or better yet free buy it. But for now, if you have the money to buy a Skinless album I would recommend ‘Trample the Weak, Hurdle the Dead’ The guitar playing is much better on that album and all the instruments are mixed better. Not to mention that the intros on that album are way better.

Genre: Brutal Death/Grind Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Duodildo Vibrator - Light My Fire (2009)

2010-06-30T22:14:00.000+04:00

Okay so most of the pornogrind bands out there are genuinely shit. They make despisable, non-sense music and sample porn audio clips in their song. Well if I had to listen to a girl moaning... I would go watch some fucking porn! Basically what I am trying to babble is that most of the pornogrind thing is shit. But! There are some bands like Duodildo Vibrator (what the fuck does this even mean ?) which haven't yet burst their credibility. This is actually the first album I got of them... I haven't heard their first EPs. Well... at first I thought it must be your average retarded porngrind shit but then I had nothing else to do. So I put on my headphones and turned this on. Was I wrong man! This band is actually good! Holy Jesus on a pogo stick! A pornogrind album that dosen't completely suck balls! Okay you won't find overtly sophisticated instrumentation or song writting on this album but what you will find is in your face, groovy grindcore which will make you want to hump the god damn wall and bang your fucking head! The song structures are really simple with hardly any break downs or tempo changes. They are quite simple... yet effective! Unfortunately, the band does employ sampling of spoken audio clips but it does not annoy you too much like some of the other bands. Why do they do this ? I dunno maybe coz 'them cool kids do it!' The production is surprisingly well done for a low budget grindcore album. Almost all instruments are heard. The bass sometimes gets burried within but can still be heard and there are times where the bass line will be in the lime light! Fuck yeah! A grindcore album with audible bass! The vocals are your usual low, gurgling porno/grind-core vocals. They act as a mere percussion instrument. Don't try deciphering them. It's no use. If you want a rough idea then I would say they sound a bit like Torsofuck's. Ye heard of that band ? If not then your loss. Well the riffs are slammy, groovy and most importantly kick-ass and brutal! And the other thing is that... they actually try out different stuff with the guitars. There are some tasty leads to be heard too! They are heavy as fuck! Down-tuned moshing madness! Some of the riffs can even be classified as melodic and catchy! How surprising of them! The bass lines, when audible, are interesting. The drums are quite varied. They keep pace with the song and make the songs flow well. No mind-less blast beats all over the place. The over-all album atmosphere is quite heavy and brutal which make for an enjoyable listen. This album does stand out when compared to your average porngrind albums. If you get your hands on, do give it a listen. It will surely please... if ye dig this kind of stuff that is!

Genre: Groovy Porno Grindcore
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Malodorous - Amaranthine Redolence (2007)

2010-06-18T21:44:00.000+04:00

Malodorous combines the brutality force field that within its boundaries creates a death, violence, and total destruction of highly ranked entertainment. Their first LP "Amaranthine Redolence," brings 11-killer wretching tracks of total gut blasting tunes you cannot stand but want to crave a listen too. "Eyes of Abomination," "Debauched Putrefaction," and "Digestion of Assiduous Oviparous Embodiment," all combined an unheard of death metal haunted house grind biting force of attention and sensation of energy. The guitar riffs are powerful followed with out-standing vocals... Malodorous is a band that brings on the full set of what death/grind metal is all about, not holding anything back their lyrics are true meaning and represent what the band is trying to tell us which is that death and violence and destruction is the best way to get out of a situation even if you know it will get you into deep shit go for it anyhow. The vocals/drums done by Chase Martin brings this gut retching action straight to your face. Alexander Eastman (Keyboards), Joe Carrere (Guitar), Ryne Hiler (Bass/Vocals), and Michael O'Hara (Guitar) brings Malodorous's creation "Amaranthine Redolence," to life allowing their instrumental expressions and exposure get the best of them and let them do what they do best. Overall they're like a mix of Splattered Entrails and Abominable Putridity, being very catchy with bludgeoning brutality.

Genre: Brutal Death Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Awaiting The Autopsy - Couldn't Tell The Bodies Apart (2009)

2010-06-18T20:22:00.000+04:00

Awaiting The Autopsy. Finally, Germany's brutal slam death outfit unleashes their highly anticipated, and long overdue debut full length! "Couldn't tell the bodies apart" aka negative slamming brutality at it's best. Welcome a blend of: low tuned slams, sick head crushing breakdowns and an ultra guttural vocal style, that will appeal to fans of "Abominable Putridity", "Cephalotripsy" & "Waking The Cadaver". With guest vocal appearance by Phlegeton ("Wormed" & "Human Mincer") and an album art by "Visual Darkness", this release is guaranteed to kill you! Let the killing begin! By the way, vocalist is a hot female and I wouldn't of guessed it judging by those ultra guttural vocals. I give to album 9/10

Genre: Ultra Guttural Slamming Brutal Death Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Putrid Pile - House Of Dementia (2009)

2010-06-17T16:15:00.000+04:00

With each album, Shaun continued to strive to get better in every aspect. Vocally, lyric writing, music writing, drum programming and production. With Putrid Pile's latest effort, 2009's release of "House of Dementia" (Sevared Records), Shaun continues his evolvement with some of the sickest material he has done to date. That is in no way a slam on his previous work, that is a compliment on his progression as a songwriter and musician. "House of Dementia" starts out with a pretty cool tasteful acoustic intro that lasts fifty five seconds before breaking your teeth out with vicious intent with track two "Dead". From then on it's all about the brutality and a bit more technical skills as present in "Dead". Blasts, chug slam riffs and even some fretboard sweepage occasionally. Even a sweet little lead action going on in tracks three "Involuntary Suicide" and eight "The Ingestion of Human Kind". Shaun's vocals are sicker than ever ranging from super low gutturals and occasional pig squeal to ear piercing high end screams even overlapping each for the dual vocal sound. "House of Dementia" was recorded and mixed at Mercenary Digital Studios in Beach Park, IL between October 2008 and March 2009 and was mastered by Trevor Sadler at Mastermind Studios in Milwaukee, WI. The sick cover art was done by Tony Koehl. If you don't have "House of Dementia" yet you should probably go to the sites below and get it. Also be on the lookout for a split between Putrid Pile and Viral Load which will be released by Relapse Records and promises to be three of the sickest Pile songs to date. I for one cannot wait!

Genre: Brutal Death Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Agalloch - Pale Folklore (1999)

2010-06-17T15:59:00.000+04:00

What can you say about this album that hasn't already been said?! Agalloch’s first release, “Pale Folklore” is a pure musical epic from start to finish. The album starts out with the three part saga of “She Painted Fire Across the Skyline.” Part I starts out with a haunting intro, then continued on with a melodic masterpiece. Part II is a mainly acoustic song, and very short at that. The saga is concluded with a revisit to Part I, but different in its main arrangement. Song 4, “The Misshapen Steed,” is a piano interlude, with not much to say about it. Song 5, “Halls of Enchanted Ebony,” is a haunting song, made even better by its main acoustic riff. This is by-far one of the band’s best songs. The song concludes with a strange outro filled with wolves howling... Not sure quite why... “Dead Winter Days,” the album’s next track, is probably one of my all time favorites from Agalloch This song starts out with a drum roll, and proceeds with a melodic middle and end. The song blends right into the next, with a piano chord that sends chills down your spine. “As Embers Dress the Sky” is a re-recorded version of the song by the same name that appeared on the band’s demo, “From Which Of This Oak”. The song is fantastic, and definitely not only the album’s standout track, but is my personal favorite. The final track, “The Melancholy Spirit” is another haunting song that is a staple Agalloch. The 12 minute finishing track to the album does not disappoint. All in all, I gave this album a 100%. If you do not have this album, you are truly missing out.

Genre: Dark Folk/Black Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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A Forest Of Stars - The Corpse Of Rebirth (2008)

2010-06-05T13:55:00.000+04:00

"The Corpse Of Rebirth" is an extraordinarily solid debut effort from this ensemble of gentlemen, expertly cementing their own sound without too many obvious influences. There are a few tired and flat moments, but these are more of an exception than a rule, heavily overwhelmed by the high points. With such a strong debut, the stars are the limit for this promising young band. This album represents a turning point in black metal history. The doors have been opened to more music of the same nature and that's something I will take delight in.

Genre: Avant-Garde Psychedelic Black Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Aftershock - Through The Looking Glass (2000)

2010-06-01T22:20:00.000+04:00

I bought this CD a week ago now, and I just can't take it out of my CD player. This is some serious metal-core! Melodic guitars with heavy breakdowns and awesome evil-sounding vocals. Buy this CD or die trying!!!!!!!! For fans of Killswitch Engage (just see line-up: Adam Dutkiewicz, Joel Stroetzel & Tom Gomes from Killswitch Engage).

Genre: Death Metal/Hardcore
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Afterlife - Surreality (1992)

2010-05-18T22:30:00.000+04:00

This band is like Cannibal Corpse without the prevalent repetition and lack of distinction between the songs. That’s the first thing that came to my mind when I heard this album. The low brutal growls are there, but the repetition is not. The fact that the instruments are distinct throughout the album is one of the characteristics that distinguish this band from Cannibal Corpse. In case you are wondering, I am using CC as a basis for my comparisons because almost everyone has heard them and understands that they are a repetitious band without much personality. The vocals tend to sound repetitious in some cases. Although they do change a bit to lighter growls in certain parts of songs, they do remain monotonous during the majority of the album. The guitar solos are widespread throughout the album and add variety to the songs, as opposed to the same drilling and boring underground Death Metal sound. Some of the songs have a slower almost Doom Metal trait to them, especially track four, “Dreading The Marrow,” which has less brutal vocals and slower tuned down guitars which came as a surprise to me. The melodious sound of track four is what distinguishes the songs from each other all through the album. Each song has a certain monotonous vocal sound to it and a melodious instrumental sound which works well with the vocals and creates a somewhat idiosyncratic atmosphere. The negative portion of this album is that, even though there are distinctions between songs, they are not as grand as possible and therefore are inevitably lackluster in sound after a while. Some of the songs do stand out though. The fifth track, “Shell Of A Being,” does offer different vocals styles encompassed with the brutal repetitious vocal style of the previous tracks. The vocals at the beginning have an almost Black Metal trait to them as they are more raspy and forced out, as opposed to the vocals towards the end which are almost whispered and show a calmer side of the album. The track also offers some very killer guitar riffs and drum beats. High pitched guitar solos and drum solos all in between the three different types of vocal styles boost the replay value of this album. The last track, which is an excellent conclusion to a decent album, is filled with guitar solos and has a more melodic feel to it, especially around 1:00 where the guitars pick up in speed and the vocals become higher in pitch. Variety is much appreciated in Death Metal and especially this kind of Death Metal, which can almost be called Brutal at times. Surreality is a decent album for those Death Metal heads that are tired with the repetitious sounding music of certain bands. Although it is repetitious to an extent, it’s no Cannibal Corpse.

Genre: Oldschool Death Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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After The Eulogy - Libertines Dream (2006)

2010-05-17T11:40:00.000+04:00

Passion Ensues... - 100%

Written by MorturomDemonto on February 25th, 2007
Wow... I'm completely blown away. I just picked up this album. I'm gonna first off say:
- I can't classify this band
- They have an extreme amount of passion in their music, something which most bands playing melodic music lack
- Give this album a listen
After The Eulogy is seems to be somewhat a crossover band, because they play some kind of Melodic Death Metal with Screamo (even though that kind of music is disregarded on this site) and some Hardcore influences. Passion is the key word to this record. I haven't heard a band this passionate you can tell immediately that these guys are serious about what they do. The guitars are somewhat technical, ressembling a bit to what I find to be Black Dahlia Murder-esque, but on their early releases (not Unhallowed and the latter, but before their full lengths). The rhythm and lead guitar work is very well written, and extremely melodic and nothing seems out of place. The drums are consistent, they barely ever stop pounding. And there are some breakdown patterns in this record I have never ever heard before, so that was a nice touch. The bass: YOU CAN ACTUALLY HEAR IT!!! Something I always thought impossible in extreme music. But you can hear it extremely clearly, and the bass lines are somewhat similar to punk as in where they go from low to high, however it's not as simple as punk bass, but a lot more technical. The vocals sound like a cross of Oliver from the Deathcore band "Bring Me The Horizon" and George Pettit from post-hardcore band "Alexisonfire", however David Rodriguez (vocals) sounds a lot nastier than either of these two. I will say one thing: PICK THIS RECORD UP! It's definitely worth your money if you like passionate, melodic metal and are open to various styles of music, even not within the metal style.

Genre: Melodic Death Metal with Hardcore/Screamo influences
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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1349 - Demonoir (2010)

2010-05-14T21:12:00.000+04:00

Not 11 months ago, this reviewer was penning a summary of 1349's experimental and controversial effort, Revelations of the Black Flame. Since then, something must have inspired the band to move on from these revelations to Demonoir, set to hit the shelves at the end of April this year. One thing remains the same is the presence of the formidably experienced and talented member of the metal hall of fame – Mr. Tom G. Warrior. Last time out, the legend of Celtic Frost fame co-mixed the album and added a bit of bass and vocals, but this time around he was at the helm of production. Although Demonoir may be a more engaging record than the 2009 effort, the same haunting raw and constant ritualistic vibe is maintained. This album is not just better than Revelations... simply because it is more traditional in terms of what we know as black metal, but as its own entity it is much more potent. It achieves what Revelations... was trying to achieve whilst still retaining the strong-armed, blazing black metal of Hellfire (2005) and other such 1349 releases. The inescapable claustrophobia present on the latest effort was definitely missing last time out. It is not one of these records where the message sinks in finally after five to ten full on listens, wading through ambience and atmosphere building riffs – the atmosphere is right there, acrid and boiling with foul imagery an inch from your face as soon as “Atomic Chapel” kicks in. The album's fast-moving riffs and dynamic riff patterns are laid bare immediately with satisfying results. For a frame of reference Demonoir casts its net somewhere between Mayhem, Aborym, Gorgoroth and Immortal, but successfully carves its own idiosyncratic niche and personality. A resounding return to 1349's devastating best – and a fine black metal release indeed.

Genre: Black Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Abaddon Incarnate - Cascade (2009)

2010-05-12T14:00:00.000+04:00

Its 2009, Irelands Premier Death/Grind Metal band ABADDON INCARNATE have released their 4th Album "Cascade" through Metal Age Productions. Throughout their 15 year career they have been consistent in producing top quality releases to great reviews in Terrorizer, Zero Tolerance etc and are renowned for the brutality of their live onslaught. Somewhat akin to the aural equivalent of being bashed around the head with a 200 year old tombstone while operating a pneumatic drill. "Cascade" utilizes grinding blastbeats and a typical old school Swedish guitar sound learned from the bands previous experience in Sweden, recording under the late great Grind God Mieszko Talarczyk. Abaddon Incarnate have taken these skills back to their home town Dublin, Ireland and produced this slab of granite in Trackmix studios. This 16 track masterstroke of Death/Grind esoteric madness punches holes through your hopes, dreams and aspirations, creating a nightmare of Crushing Darkened Death Metal. The only modern Death/Grind band with the message of bands of the early nineties, the lyrics are of the Esoteric, the Occult, the Satanic, the Anti-Christian and the Sinister. No Politics, Porn or Gore on this release. The name "Cascade", a metaphor for "The Eternal Fall" was chosen to represent the breakdown of order of the material and the immaterial, cascading into The Abyss where all things emerge out of chaos to be re-made. The cycle will start again: A New Aeon. Sung by something caught between this world and the next, it is standing in Shadow, watching the Cascade, singing to the Dark Gods, waiting patiently for its Oblivion. Always striving for uncompromising brutality with a darkened edge, ABADDON INCARNATE are unique in the world's Deathgrind scene. This is their most accomplished and focused album to date. The world's only Deathgrind Esoterrorists. Buy this release "Cascade" on Metal Age Productions.

Genre: Grindcore
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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After The Burial - Rareform (2009) Re-released

2010-05-12T01:59:00.000+04:00

This is re-released version of original album which was released in 2008. This album contains remixed tracks, different artwork, and different drums & vocals.

Genre: Progressive Metalcore/Deathcore
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After The Burial - Rareform (2008)

2010-05-12T01:00:00.000+04:00

After the Burial's second release. I'm very impressed, having never listened to this band before. The whole album is very technical. My only qualm with the instrumentation is the vocals. They're kind of grating, sort of a mid-range yell, with some lower grunts and screams. The album's songs are mostly melodic riffs, pretty nice shredding solos, some really sweet softer melodies that are my favorite part of the album. There also a lot of breakdowns reminiscent of Meshuggah and Ion Dissonance. Sometimes the songs will have a few too many breakdowns, but they're better than your standard chugga-chugga deathcore breakdown, they at least change chords occasionally and use some pretty cool rhythms. The guitarists definitely get a workout playing this. Lots of tremolo picking, pedal points, and odd rhythms. I've heard the drummer is actually a drum machine, and if it is, whoever programmed them did a pretty good job. The cymbal production seems thin though, and I don't like the triggered double bass sound either. The actual beats are pretty neat though and so are the fills. This album is basically technical melodic death metal with Meshuggah breakdowns and some heavier death metal riffing. The vocalist may even be considered to be doing hardcore vocals. But I don't consider this a deathcore album. It's pretty original sounding, if it is. Most metalheads probably won't like this release saying the breakdowns are unnecessary, and sometimes I agree, but I think this band will continue maturing and use the breakdown more effectively and tastefully. Rareform deserves this score because it’s “deathcore” in rareform. It’s original, even if melodic riffing has been done before, they add their own twist to it. Breakdowns ala Meshuggah have been done before, but not quite like this. The seventh track Ometh, is one of the more original songs I’ve heard in a long time, and my favorite song on the album. There are sometimes, too many breakdowns. Just be wary of that. If you like Arsis, Meshuggah, Ion Dissonance, The Faceless, Quo Vadis and similar artists, you will like this album.

Genre: Progressive Metalcore/Deathcore
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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After The Burial - Forging A Future Self (2006)

2010-05-10T15:45:00.000+04:00

While this album does have its flaws, it is certainly a diamond in the rough. It certainly has an edge over most of the other albums I have from 2006. Tracks that you have to check out are The Forfeit, Fingers Like Daggers, Redeeming the Wretched, and A Steady Decline. Possibly even the title track. Maybe the album could have been better if they had a better vocalist and a few less breakdowns, perhaps. But the catchy melodies and intense riffs more than make up for it.

Genre: Progressive Metalcore/Deathcore
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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After Death - Retronomicon (2007)

2010-05-10T14:01:00.000+04:00

Atmospheric and haunting occult metal from ex-Nocturnus mastermind Mike Browning! And hey, it’s good stuff too. This compilation CD gives you a chance to check out three After Death demos plus one previously unreleased EP. Nocturnus fans should like this stuff, however, the music isn’t as technical as on the Nocturnus full-lengths. Instead it’s a bit simpler and more straightforward, in the vein of the “The Science of Horror” demo and the title track of the “Possess the Priest” EP. There’s also not any futuristic sci-fi touch to the music as was the case with Nocturnus, After Death’s concept centres around mythology, occultism and blasphemy. The different releases included on this CD don’t have the same line-up, so the music varies a bit from release to release. I recommend this CD. After Death’s stuff is not trendy by any means but rather unique. It’s neither your typical Nordic black metal, nor is it your standard brutal death metal. I think this is profound and somewhat experimental in an interesting way while still managing to keep the old school touch.

Genre: Occult Death/Black Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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After All - Cult Of Sin (2009)

2010-05-06T00:06:00.000+04:00

Though new to my own ears, and possibly yours, After All is an established Belgian band with 20+ years and seven full length albums to their career. If their previous albums are as tight as this, I have to think it's a shame I didn't pick up on them sooner. Cult of Sin is a thrash metal album, largely, though the vocals of Piet Focroul have a vibe about them that recalls the dirtier European power metal vocals of Grave Digger, Excelsior, Paragon, and Piet from Iron Savior. They have a lot of character, and combined with the solid riffing in each of the 11 original tracks, they create a good album with some listening longevity. The acoustic "Another False Prophecy" initiates the album, closing with some power/thrash guitars akin to Paradox. Once the chugging for "My Own Sacrifice" begins, you feel like you're about to hear the new Metallica. I'm serious, the riffing that opens the song sounds like something from Ride the Lightning. The verse and vocals change it up a little, with a slight melodeath feel to it and Focroul's distinct vocals. "Scars of My Actions" is a thrashing romp with excellent riffing and the perfect vocals. "Betrayed by the Gods" is a nice, slower thrasher with powerful grooves and a catchy bridge/chorus. "Devastation Done" uses some driving death metal rhythms and breakdowns for impact. The band's ability to mix diverse influences like this into a thrash core is what truly makes Cult of Sin a strong record. No two tracks sound quite a like, and all of them are memorable. "Embracing Eternity" and "Hollow State" are two more of the ragers. "Release" simply rules. The album ends with a cover of Dio's "Holy Diver", which has been covered far too many times and essentially a waste of space, but this is the only track I didn't care for. There are a number of guest musicians on the album, including Andy LaRocque, Joey Vera, Juan Garcia, and James Rivera. Cult of Sin sounds down to earth, with powerful guitar crunch and excellent drumming. The bass takes a back seat to the rest of the band, but you'll still hear it plodding along. One of the more grounded and song-heavy thrash albums I've heard this year, it has provided me with more than enough reason to track down some of their earlier material. I definitely recommend this to any fan of quality thrash/power metal, nothing too showy but full of impressive hooks and a fairly original sound for the genre. It's the type of album that will stick with you for some time.

Genre: Modern Thrash Metal
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After All - This Violent Decline (2006)

2010-05-05T00:21:00.000+04:00

"This Violent Decline" is the last album of the Belgian thrashers of After All. This band uses to play a Thrash Metal which is near to be similar to the one of Metallica and Megadeth when the two bands started to do something more melodic than aggressive ("Black Album", "Countdown To Extinction"…). Evidently, this lack of "aggressions" doesn't mean that the music of After All is bad and boring but you just have to know that you'll not listen to something similar to Slayer, Exodus or Kreator… it's Heavy-Thrash Metal here! "This Violent Decline" is an album of Thrash Metal so, of course, you'll be able to listen to big riffs and (in general) fast frenetic tempos. But "This Violent Decline" doesn't have the "punk-attitude" that we can find in Exodus' albums for example. Actually, the guys just chose to do melodic music before "violent" stuff and it's not a real problem if you're not allergic to Thrash which is not so far away of Heavy Metal. Plus the voice of the singer is not aggressive, well a bit of course it's not Stratovarius, but it's more like the one of Hetfield instead of the one of Araya on "Reign In Blood". When it comes to the songs, the whole album is composed of a lot of good ones even if I didn't find real mega hits too. "Frozen Skin" can be a good example to describe the whole album. We have a good catchy melody, some good powerful drums, good clean guitars soli a bit in the Maiden spirit (which is not bad! but not so "thrashy" in the spirit) and those "soft" Thrash vocals. It's good to listen to it but it's not something that will slap your face too. I just regret that sometime the albums lacks a bit of energy. When I listen to Thrash Metal I like to feel this revolutionary spirit that we were able to find in the releases of the 80's. But it doesn't mean that it is not good to listen to "This Violent Decline" because it's cool at the opposite but sometime it's a bit too much conventional and nice if you see what I mean. On the other hand, if you like Heavy-Thrash Metal, that's clearly different and this album is a great release in this particular style. Without being outstanding, "This Violent Decline" is however a really pleasant album of Thrash Metal. Of course don't forget that it's something more melodic and "Heavy Metal" in the style than anything else but if you like this kind of Thrash, I'm sure that you'll be able to enjoy the album which is composed of nice good songs. After All is a good band and their last album "This Violent Decline" just confirms the quality of the combo… try to remember their name, they're becoming something…

Genre: Modern Thrash Metal
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Abhorrence - Evoking The Abomination (2000)

2010-04-27T11:45:00.000+04:00

After KRISIUN stormed the world with their Unholy Brazilian Death Metal assault, the Worldwide extreme metalians pointed their sight (or should I say their ears ) to this region of the planet. It's a fact that The Brazilian scene has to offer a lot more of interesting bands apart from KRISIUN. ABHORRENCE is a good example of a band with great potential that deserves your attention. This record consists of 8 tracks of furious and fast Death Metal , plenty of guitar solos like swords that rip through your flesh and machine gun blast beats and a double bass fest. I will feature the vocals that fits the music really tight and keep you entertained during all the songs. Yes I know that this formula is not new but this is so catchy and perfectly performed that leave you breathless and wanting for more. This guys are berserk and handle their instruments with the precision of an evil surgeon. This album reminds me of HATE ETERNAL 's Conquering the throne, because it's half an hour of a blitzkrieg attack. This was recorded in a Brazilian studio, but it is very well produced, and was mastered by Eric Rutan and Gene Palubicki, so you can expect a clear but filthy sound. Highly recommended.

Genre: Brutal Death Metal

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Afgrund - Vid Helvetets Grindar (2009)

2010-04-23T12:43:00.000+04:00

Afgrund’s debut Svarta Dagar was a ripping piece of textbook Scandinavian grindcore, and despite its obvious influence from more established bands, was one of the most promising releases of 2007 for me. I remember thinking back then that adding more of their own stylistic touch to their excellent existing sound could really elevate the band’s status in their genre, and two years later Afgrund have proved my prediction correct with Vid Helvetets Grindar. Aside from writing some of their lyrics in English this time around, the band’s methods are largely similar to their debut; super-tight bursts of punkish grind with a modern touch. The most important difference here is that Afgrund has made a tangible effort to craft a more distinctive sound this time around, taking their formidable but formulaic pure-grind framework and seamlessly integrating sludgy slowdowns (“The Empire”), doomy interludes (“The Great Cover-up Apocalypse”), and crust-influenced call-and-response choruses (“Kuken Som Vapen”). The increased punk and thrash influence adds another crucial dimension to what is often a one-dimensional style of metal, and it turns what would normally be a single rush of indistinct speed into fifteen well-developed compositions that continue to be catchy and intense long after most similar albums would have lost their luster. In addition to the excellent songwriting, the instrumentation maintains the high level set by fellow Scandinavian grind acts such as Gadget and Rotten Sound, with perfectly timed blasts and buzz saw guitars supporting maniacal screams and yells that sound even more frenzied and raw than they did on the debut (in fact, the increased personality in the vocals is one of this album’s strengths). Paul Pani’s drumming in particular stands out as more technically engaging than before due to the creative bass drum and cymbal touches used in the slower and mid-paced segments (such as the crushing breakdown in “Inevitable Environmental Collapse”) as well as the greater variety of different blastbeats employed. All in all, the strides forward in songwriting and musicianship not only make Vid Helvetets Grindar more intense and enjoyable to listen to, but much more noteworthy in today’s crowded field of narrow-minded grindcore bands. By sharpening the punk influence and diversifying their riffing attack, Afgrund have added a healthy dose of depth and style to a sound that was already a force to be reckoned with. Vid Helvetets Grindar is exactly the kind of follow-up record I was hoping to hear from this band following Svarta Dagar, and is easily one of the year’s best grind releases in addition to being a breakthrough effort for this young Swedish outfit. If you missed out on these guys a couple of years ago, you owe it to yourself not to make that mistake again.

Genre: Grindcore
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Afgrund - Svarta Dagar (2007)

2010-04-23T11:31:00.000+04:00

Like grindcore? In particular, like Nasum? Then Afgrund’s debut album should be right up your alley. Svarta Dagar is a tight, cacophonous grind record that takes a great many cues from the aforementioned grind legends, perhaps too many. I know grind is a genre that places ass-kicking over originality, but I have to say that virtually every track on here had me thinking about a similar moment heard on Human 2.0. But does this lack of originality make this a bad record? Not at all. In fact, it’s a damn enjoyable one. I’ve always liked grind bands that aren’t afraid to be melodic, and Afgrund immediately struck a chord with me in this regard, supplementing their vicious barrage of blasting crust riffs with catchy, melodic hooks that add an unexpected depth to the record. Sure, these melodic segments are very reminiscent of the way Nasum would offset the all-out grind tracks with more drawn out, melodic pieces on their classic albums; regardless, this aspect of the band’s sound is executed with conviction and skill. Vocals, the usual mix of manic screams with in-your-face growls, also sound a great deal like you-know-who, but don’t quite match the rhythmic mastery and infectious intensity displayed by the late great Mieszko Talarczyk. Not especially memorable (though there are moments), but definitely solid. The professionalism and skill shown in musicianship and song craft is damn impressive though. All fifteen tracks are strong and offer the listener all the razor sharp riffs, blasting drums, and over the top speed they could ask for. “Enkelriktat krig” and “Ångesten är total” begin the album in total blazing fury, while the spastic riffing and chugging breakdown found in “Tårar hjälper föga” sound almost math core-influenced. The trio of “Katarsis,” “Roulettehjärta,” and “Raderad” are deeper, more melodic cuts that show that the band is not afraid to add their own touch to the normally narrow grind formula; these three tracks make up probably the strongest section of the disc. “Terrorbalansen” features some devastating riff patterns and one hell of an infectious vocal exchange, and the “epic” “Käpprätt åt Helvete” ends the album in a suitably excellent fashion. Overall, Svarta Dagar is an incredibly intense and surprisingly varied grind record, and maintains a high level of quality throughout its duration. However, the lack of originality is a still a hard pill to swallow for me personally. I’ve been a huge Nasum fan for many years, and it's difficult to really summon as much excitement for a band that imitates a trademark sound so closely. Then again, some would say that the sound Nasum coined has become the trademark sound of Swedish grind, and bands like young acts like Afgrund are simply paying homage to a great band that influenced them. Regardless, I have no hesitation in giving a hearty recommendation for Svarta Dagar. Its tight, catchy, and aggressive as hell, and it's not like you're going to care about originality when you’re blowing out your eardrums to songs like “Maktens Murar Rasar.” Definitely pick this up if you’re into grind.

Genre: Grindcore
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Affliction - The Damnation Of Humanization (1992)

2010-04-23T00:10:00.000+04:00

The band is called Affliction, the album The Damnation Of Humanization, and just by seeing the cover and not hearing a single note beforehand you could already be dead certain that the music is going to be straight-out thrash metal and maybe not too original for such. Indeed, the record starts out pretty flat and boring and doesn't really change its course during the lengthy tracks. To add to the textbook feel, even the lyrics cover seemingly serious topics in quite a stereotypical way. It's only the fastest thrashers like Tombs Of Forgotten Souls and Trying To Be Cool that provide some refreshment among the less distinctive and more tiresome stompers - too bad there are only a couple of these moments on the whole album. Affliction's sound is laudably heavy and technically there is no reason to complain, but with such a generic offering it was clearly too little and too late.

Genre: Bay-Area Thrash Metal
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Afflicted - Prodigal Sun (1992)

2010-04-22T00:13:00.000+04:00

Apparently this band Afflicted was promoted by Nuclear Blast like the next big thing back in 1992.... and the hype backfired so catastrophically that today, few people know that Afflicted even existed. It's is basically a much weirder version of early 1990s Swedish death metal, if much closer to the first death metal records back from the eighties but also unusually complex. There's some rather unlikely influences ranging from Arabic folk music to the heavy blues-rock metal evolved from, but they don't feel jarring. The rather dry-sounding production has the bass much higher in the mix than usual for the genre, as it's far more active than usual for the genre - there's a lot of interaction between bass and guitars. The individual songs are quite varied. Some are rather internally fluid in their progressions with the individual riffs slowly and progressively changing in texture, others containing much more dramatic developments. Completely abrupt ones mostly appear in only one song, "Astray". A few leitmotifs in the forms of specific riffs or lead breaks keep the album coherent. As for cases when comparing specific songs... "Tidings from the Blue Sphere" is a good example - it seems to be anticlimactic by design, with the occasional outburst of energy, giving the whole thing a tragic but far from lifeless expression. The following song "The Empty Word" feels more like an unpredictable whirlwind. In fact, the songwriting on this album is overall very unpredictable by design and somehow manages to pull it off correctly. Except for two songs being more spiritually oriented, the lyrics here are more overtly political than usual for the genre, full of criticism of contemporary civilization. The subversive vitriol shows in the music too, so nobody can accuse this of sacrificing attitude for complexity like much tech-death is criticized for - making it a very good example of how to do this style. Definitely recommended.

Genre: Progressive/Technical Death Metal
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Aeveron - Existential Dead End (2008)

2010-04-20T18:47:00.000+04:00

When I first heard the song "Cathartic Rain" from Aeveron's new album, Existential Dead End, I just couldn't believe we were talking about a (relatively) new band in melodic death metal...these guys sounded like they've had at least a decade or more of experience! The album's got everything the average melodeath metalhead fan could (debatably) want: Awesome riffs, brutal grunting, and incredible clean vocals every now and then. Maybe the lack of REAL guitar solos make this album a bit less awesome, but sometimes there are; for example, the solo in "Take Heed of Trust" is pretty cool. You will also hear some black metal influences, take the song "Autoapotheosis" and you'll understand what I'm talking about. There are even female vocals in the title song, as well as spoken word-stuff... In conclusion, this is a band that has variety in their songwriting. They're better than half of today's melodic death metal bands out there...and I'm hopeful they'll get even better with time. While they don't add anything new to melodeath, they're bound to make a name for themselves pretty soon, I'm sure of that; another full length, a video clip...who knows. I'm just expecting to hear my fellow metalheads talking about this band with passion one of these days... Aeveron is bound for victory!

Genre: Melodic Death Metal
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Aeveron - Construality (2004)

2010-04-20T18:43:00.000+04:00

'Construality' generally works fairly well simply due to professionalism. Listening to this album let's you know everything about the band: they've clearly done their homework, not only on talented instrumentalism, but on effective songwriting. The songs almost seem scientifically engineered to sound good to the average listener, using tried-and-true techniques such as acoustic breaks hook-laden lead guitar to ensnare the listener. When taken at face value, 'Construality' is an excellent album. When taken in the context of a metal listener, however, it becomes a tad flatter.

Genre: Melodic Death Metal
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Aetherius Obscuritas - Víziók (2007)

2010-04-17T23:49:00.000+04:00

Hailing from the Hungarian underground, AETHERIUS OBSCURITAS consists of founding member Arkhorrl and session drummer Zson, performing Pagan Black Metal with no keyboards and no bullshit. The opening track "Vízíok" launches the listener straight into a flurry of very catchy riffs and pounding drums. This isn't a particularly necro feature, but the excellent melodic riffing utilized here is enough to leave a strong impression. Other tracks, like the somewhat mellow "Journey To Immortality" and the head-banger "Kövekbe Vesett Nyugalom", more closely resembles the pagan fury of TAAKE and RAGNAROK ("My Refuge In Darkness" is a cover of the latter band), who both seem like obvious influences. The instrumental track "Who Never Really Left" has a very folky atmosphere over it, and is a touch of beauty amongst all the ugly rawness. "Víziók" (Visions) is quite a dynamic piece, ranging from mournful anthems to hateful stampedes, and covered by a suitably organic production. While I get a feeling I've heard most of this stuff before in some form, AETHERIUS OBSCURITAS still delivers a solid and raw piece of quality Pagan Black Metal.

Genre: Pagan Black Metal
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Aetherius Obscuritas - Layae Bölcsõje (2006)

2010-04-17T22:41:00.000+04:00

Aetherius Obscuritas is a good black metal band, to put in short. Musically, there is apparent talent. This isn't one of those bands you should pass up because of the new 'Myspace' black metal trend that is killing the genre. I'd suggest looking into this one, it's worth the time.

Genre: Depressive/Pagan Black Metal
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Aeternus - HeXaeon (2006)

2010-04-15T12:24:00.000+04:00

HeXaeon is Aeternus’ 6,66th album. We all know it’s not that easy to maintain the high-level after 5,66 albums, but this band once again proved that they are worth of listening, they still have the gift to write interesting songs. Of course many will disapprove that this is a fine release, but that’s their problem. I was also skeptical at the first listenings, it wasn’t too easy to enter the feeling of the new songs and the sound was a little weird as well. But something happened (hot spell from the long and sunny summer days) and I hopped the train. If you don’t know Aeternus, imagine a dark and heavy blend between death, black and doom metal with a thick and deep sound. Imagine a huge old dense rock, which suffered heavy precipitations for a long time, but its still tough, strong and impenetrable. The guys are delivering mainly mid-tempo extreme metal, threatening (Morbid Angel influenced) death metal riffs, Black Metal moods, doom metal marchings are all present here, materialized in a solid and unique blend. They also have acoustic breaks, and the vocals are various too. I recommend for everyone in search for dark and heavy extreme metal the 6,66th album (besides the 6 full-lengths they also have a longer EP) of these Norwegian veterans.

Genre: Death Metal
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Aeternus - A Darker Monument (2003)

2010-04-15T12:18:00.002+04:00

This album in the end is not a revolutionary album yet is still unique. And Certainly better than most death metal released in recent years. In my opinion thus a must have for all fans of (blackened) death metal. In the end I am going to give it a score of 85% flaws being somewhat samey songs, lack of audible bass and a tiny amount of faults of the production. The good being the riffs, the varied drumming, good vocal work and just some songs with just excellent song structure ideas. In the end if all the songs were as good as The Trident and Litany of Ra I would give it a score somewhere in the low 90's.

Genre: Oldschool Death Metal
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Aeternus - Ascension of Terror (2001)

2010-04-14T23:27:00.000+04:00

First of all, let me tell you that 'Ascension of Terror' is different from Aeternus’ old releases. While 'Shadows of Old' already took a step away from their original sound and in the direction of Death Metal (and I think they managed very well to combine the two styles on that album), 'Ascension' can only be described as being a pure Death Metal album, although not a typical one. I expect many fans of their older releases to have problems with this album as it doesn’t have too much in common with the highly original, atmospheric ‘Dark Metal’ offered on their first two albums and the 'Dark Sorcery'-EP anymore. I too liked their old sound better, as it was truly unique, and also darker. But that doesn’t mean that Ascension is a bad album. In fact, I think it’s pretty good, and certainly better than their following offerings. While I find most of (newer) Death Metal to be boring, Ascension is not. There are lots of great, brutal riffs to be found here, that you haven’t heard before, and some unusual rhythms, the whole put together to good tracks thanks to experienced songwriting. Overall, the music is mid-tempo, but with enough fast parts and blast-beats to keep it varied. Some few slower parts are also to be found. The technical abilities presented on these tracks are amazing, without the band trying to sound technical for the sake of it. Ares’ vocals have always been more akin to Death Metal growls than typical Black Metal rasps, so they fit the music very well. The production is very powerful and underlines the brutal character of the music. Hints of the folkish melodies that they had on their early releases and which made them so special are still to be found on a few of the tracks here (Possessed by the Serpent’s Vengeance, Denial of Salvation, the Lair of Anubis); and I think that these are the best tracks on this album as it makes them stand out a bit.
If you are looking for well-done, interesting and refreshing Death Metal that doesn’t sound like the 729th Cannibal Corpse copy, then I can definitely recommend Ascension of Terror.

Genre: Oldschool Death Metal
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Aeternus - Shadows Of Old (1999)

2010-04-13T00:57:00.000+04:00

For starters, Aeternus developed a more drastic change to their sound and style while retaining the elements they are known for in previous albums, while dropping the atmospheric quality. Fans will either hate this album or love it. I personally love it because of its vast diversity molded within one album. As soon one pops in this CD, “Under The Eternal Blackened Sky” hits you right in the face with its heavy and melodic death metal sound; though one can recognize a Deicide-ish riff thrown in there, but that’s simply part of the idea behind this album. As one hits the next track a slow-paced track known as “Descent To The Underworld” compliments the aggressiveness of the first track using clean acoustic passages to link the heavy distortion. “Dark Rage”, a track that was featured in their 7″ EP (and the limited CD edition of …and so the night became…), begins with an atmospheric guitar intro then follows straight right in into the song. For those who had the 7″ EP, it might not be a surprise for them that this album would follow its death metal roots. From the title alone Shadows Of Old, this could be interpreted as using ideas found in the past and using these elements to create a new sound that no other bands have done. As one can hear in this album, they’ve managed to throw in black and death metal elements, along with doom thrash, folk and classical. I’m not saying that its a bad thing, but Aeternus has managed to fuse all these elements together and create an identity that defines them who they are. Such examples could be found on songs like “Resurrection”, whose “old school” riffing hits you unexpectedly. A guitar duo/piano piece introduces The summoning of shadows whose nonstop fury and rage continues on. “Death’s Golden” truth revealed, a more subtle track that’s not only catchy but melodic through scale progressions. “Cuchulain”, a fierce song that could be a reminiscent of a more refined European death metal band. “Prophecy Of The Elder Reign” reveals a sense of nostalgia where Aeternus have used their previous sound and made it heavier and darker (!!!) through the use of keyboards and acoustic guitars layering over it; though I have to comment on the neat Soul-like introduction . And yes, there’s an instrumental track at the very end of the album titled “The Sunset’s Glory”, which is a bagpipe solo that marks a new beginning for the band. Overall, simply a great album that I can’t deny because Aeternus has created a brand of “death metal” that is a lot better than what I’ve heard lately. Although it’s not not as great as their previous albums, it is definitely worth checking out, as this album is directed towards the death metal audience.

Genre: Oldschool Death/Black Metal
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Aeternus - ...And So The Night Became (1998) Original Release

2010-04-12T00:42:00.000+04:00

There are moments in my life where I go totally ballistic over black metal bands, and have the urge to purchase their entire discography in one online sitting. Then, there are times where I just want to steal their stupid clown paint and build churches near their homes. As you can probably tell, when it comes to black metal, I’m extremely interchangeable. But that doesn’t mean I can’t tell a masterpiece from Death Cult Armageddon when I hear one. Aeternus is, amazingly enough, a mere 3-piece side project of Obtained Enslavement and Gorgoroth. How can a side project be so much better than either of the bands it spawned from? This band will show you. Songs range from 6-11 minutes and stretch over 70 minutes, and amazingly, never get boring. The band has a feel unlike any other band. Never have I heard such strong blackened growls, militaristic (and amazingly well played) drum patterns, and such an incredible fusion between smooth, rich, beauty, and thick, distorting evil. Clean vocals even shine through on one of the later tracks, and in a way so strong, you’ll have multiple seizures. Everything starts out slow with gloomy keyboards, picks up speed, then flows into beauty, speeds up or slows down, and ends peacefully and calmly. I can honestly say, from my very first listen’s completion, I realized that this would become one of my favorite albums of all time. To sum it up, ...And So The Night Became is over an hour of thick, war-filled atmosphere, blackened and melodic death metal, and some of the most incredible musical talent I’ve ever heard. You haven’t truly worshiped dark death/black metal til you’ve heard this album. Unfortunately, these guys became more death metal (Behemoth-esque) in their more recent releases, and can’t come anywhere near the beauty and power of this album. There’s no excuse not to own this.

Genre: Oldschool Death/Black Metal
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Aeternus - Beyond the Wandering Moon (1997) Original Release

2010-04-08T11:15:00.000+04:00

A blizzard is conjured, a crystal sheet penetrating the darkness, glistening with strength. The strength of your ancestors, your people, as you and they become one with the Earth. You are a warrior, and you will die honourably, at peace with yourself and with your world. You will wait for the storms. Ah, this is a beauty - one to which I can't hope to do justice with mere words. Ambient, pulsing rhythms reminiscent of a ship rocking on stormy seas. Folk-tinged melodies vary subtly against a blanket of white noise which dominates the CD. Rhythmically driven by the drums which throb broodingly in the background. Vocals aren't prominent either - deep, lengthy growls, adding an extra layer of darkness and rhythm to the music. The album closes with a reflective Celtic tune which is very aptly named "Celtic Harp Solo", having opened with an ominous piano piece. In addition, the production is excellent. In a way similar to the very best of Burzum and Sacramentum, Aeternus succeed at disconnecting the listener and transporting them to an unexplored world with endless possibilities.

Genre: Oldschool Death/Black Metal
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Aeternus - Dark Sorcery EP (1995)

2010-04-03T00:02:00.001+04:00

When I put this album in my player for the first time, I sank immediately into the world of Aeternus. Similarly as with the successor "Beyond The Wandering Moon" or "....And So The Night Became" you are spellbound from the atmosphere and you don´t even try to press the stop button. Dark Sorcery - storm, thunder & lightning; a dark bell rings and a voice says: "Human Dreams - Such A Fruitful....To Plant The Seeds - Of Terror"....then the first Song starts in mid speed but very atmospheric, majestic and melodic. Grandiose sound and partially dark synthesizers add some extra black atmosphere. The whole mini CD is settled more in the mid speed range, blastspeed is partly also present and very suitably assigned. The vocals are very dark & deathmetalish. The song "Nordlys" is an instrumental - one the most beautiful, which I ever heard. Aeternus are one of the few bands, who have the talent to guide you into another world with their music. You´re sitting alone in a dark room and you´re wandering through the dark landscape while the music is playing.

Genre: Oldschool Death/Black Metal
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Aeternitas - Requiem (2000)

2010-03-26T15:22:00.000+03:00

Fuckin' great interpretation of Requiem. Death Metal, Black Metal, Gothic Metal, Symphonic Orchestra - the album input all of these genres. This is eternal abyss...

Genre: Death/Black/Doom/Gotyhic/Symphonic Metal with Classic Symphonies
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Absurd Existence - Angelwings (1994)

2010-03-22T00:21:00.000+03:00

Melancholic doom/death in the vein of My Dying Bride and Novembers Doom. Music for the romantic doomsters. Very beautiful album. My best recommendations!

Genre: Melodic Death/Doom Metal
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Aeternam - Disciples Of The Unseen (2010)

2010-03-20T19:33:00.000+03:00

The epitome of brutal epicness! - 95%
Written by paranj on July 20th, 2009
There are some bands who have real skill and talent but still go by unknown. Aeternam is one of those bands. From the first song on this album, you can tell that the band is very skilled. The music in short is epic yet brutal and unlike some modern, so called 'symphonic' bands, they don't try to hide behind layers of programmed keyboard music. The band is very skilled. The song-writing is really amazing and you can feel that from the intro itself. Most of the songs have some time signature changes and some catchy yet brilliant choruses, all which fits in precisely and perfectly. The guitars sound raw and brutal and the guitarists play some kick ass riffs. Most of the guitarring is fast and to the point. A few slow parts too which are well executed. The bass guitar is too under-produced, and is rendered inaudible. That was my main qualm with this album and due to which I deducted 5 points. The lead guitar work is mind-blowing too. It's not overly technical but it fits perfectly with the album's ambiance. The drumming is brutal yet catchy. The drummer has some undeniably good talent. From the first few seconds, it becomes clear that the drumming is no joke on this album. The drumming for the most part is fast and on the uptempo side. Now about the keyboards, they are quite nice. They aren't over-used and neither do they bury other instruments like a lot of other modern bands. What the keyboard actually does on this album, is to add to the overall atmosphere in a vital manner. Without the keyboard, the album will sound different, in a bad way. The vocals are good too and quite versatile. Most of the album's vocal comprise of growls (similar to Amon Amarth). The rest of them are clean choruses which fit in perfectly well. The lyrical work is decent too. The production on this album is nice though nothing to write home about. The bass guitar is buried in the mix which made me deduct some points. Though, in the end, this is a brilliant album. If you see it anywhere, be sure to pick it up. It is bound to impress anyone who likes metal in general. I really wish that this band gets some mass appreciation.

Genre: Oriental Progressive/Technical Melodiс Death Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Aeba - Shemhamforash - Des Hasses Antlitz (2004)

2010-03-19T23:27:00.001+03:00

This is the fourth album of the German band and probably their best output so far. Aeba has a very own, outstanding style of Black Metal, which can´t be described in one sentence. It reminds me to mixture of Ragnarok, Sargeist, Rotting Christ and early Samael with a cold atmosphere of anger and despise. You need to listen carefully to "Shemhamforash" to get the feeling, because the structure of some songs is very complex. So it´s no easy-listening metal! Generally I don´t like keyboards in Black Metal, but here it underlines the atmosphere in the mid-tempo parts very well. The blast-beat parts always sound very aggressiv and hatefull, but the focus lays on the fantastic melodies. The ballance between high-speed and mid-tempo was chosen wisely, so this album is absolutly convincing- after the second listening. "As wolf among sheep" is truly the best song on this album and I think it is one of the best BM-Songs ever.

Genre: Apocalyptic Black Metal
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Aeba - Rebellion - Edens Asche (2001)

2010-03-19T23:19:00.000+03:00

Released in 2001 on Last Episode, “Rebellion- Edens Asche” is the third full offering in CD format from this unrelenting quintet from Germany, and I was quite happy to have it finally arrive. “Rebellion- Edens Asche” has been living in my CD player for many days now, and even when I pull it out to review something else, it invariably finds its way back in shortly. Consisting of 10 tracks with a total playing time of 66:29, “Rebellion- Edens Asche” is an interesting marriage of intense brutality, catchy rhythms, and sweeping melodies. The first song on the album is an atmospheric keyboard overture, similar to the intro to “Im Schattenreich”, which means it is darkly sinister with deep tones and percussion. This was merely the calm before the storm, however, as the next song (and indeed, the rest of the album) is absolutely explosive and employs the best trademarks of truly great Black Metal. Keys are used throughout most songs, but it is deep in the mix and rather than becoming a focal point, it is atmospheric and one has to listen to it intentionally to pick it out of the wall of sound. The guitars range from aggressive rhythms to rich harmonic tones, and the lead runs are over the top, shredding and fever-pitched. The changeups of the rhythms sometimes catch you by surprise. Vocals on this album are purely bitter, with sustained screams and hateful growls punctuated by shrieking lyrics, sometimes as a duet trading off grating screams. The vocals are absolutely perfect and I find them to be one of the most enjoyable aspects of this album. The drumming is programmed apparently, as no credits for a drummer are to be found. However, if this sound is the result of programming, then I think some “live drummer” bands should consider taking a cue from Aeba, as this is flawless and sounds excellent. However, as stated before, all is not face-ripping brutality on “Rebellion- Edens Asche”. Light acoustical and classical sounding arrangements populate here and there, creating a beautiful contrast to the barrage of aggression that dominates this album. In short, “Rebellion- Edens Asche” represents everything I like to hear in Black Metal.

Genre: Apocalyptic Black Metal
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Ador Dorath - Bestiari (2008)

2010-03-14T21:26:00.000+03:00

Ador Dorath is a black metal tandem from the Czech Republic, combining operatic female vocals with grating black metal shrieks and scattered death metal growls. Having been in the scene for more than a decade, the band have only released three full-length albums, none of which can ultimately be compared to any of their other works. These musicians are incredibly original, talented, and driven to produce varied material. Bestiari marks several significant changes from its predecessor; firstly, the bludgeoning operatic vocals of Lenka Machová have been replaced with Anna Neuwirthová's softer melodies. Secondly, the album begins immediately at a frantic pace, charging the gates with keyboards aflame. Where Symbols sounded more relaxed, Bestiari is more of an assault. Thirdly, the drumming is more solidified; in its simplicity, there is an essence of rhythm and heaviness. Overall, these elements join together to create a very solid release. That being said, the band members deserve recognition for their involvement on such a transformation. Ivos Dosedel's bordering on the lines of gothic metal's depth, black metal's pitches, and death metal's grunts carries the album from beginning to end. Neuwirthová was used sparingly -- perhaps a personal sacrifice; regardless, her vocals add that much more weight when they are heard. Martin Roženek's keyboard abuse tends to hinder the abilities of guitarist Kamil Pfeffer, therefore Kamil Kottek's bass work is inaudible beneath the overwhelming duo. "Moments of Evolution" sets the overall tone for the album, and should have been used as the introduction in place of "She's in My Veins", which in my opinion is better suited for the album's body. "Attitude Gyroscope" features varied layered vocals, adding to the aggression of the album, much like "As Free Act and Dead", which sets the stage for Dosedel and Neuwirthová to exchange vocal approaches. These two obviously have chemistry, seemingly playful in their artistic battle -- an element that adds character and soul. "Postscriptum" is the true standout track here, albeit not for its brutality or technical efficiency. No, here we have an epic track, a narrative opera that drags the listener into oblivion, casting them off into a psychedelic euphoria and bringing them back into a dismal void. It's far from any heavy metal sub-genre, but this whale of a píseň. Throughout the line-up changes and years spent creating new material, Ador Dorath have grown stronger with each release, maintaining their seemingly untouchable level of originality, yet approaching a happy medium of independence and marketability. Shindy Records is very fortunate to have this band on their roster, as they should be a force in the metal scene for years to come.

Genre: Melodic Black/Gothic Metal
Quality: mp3@CBR320 kbps (Lame 3.93, CD-Rip)
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Aeba - Flammenmanifest (1999)

2010-03-14T14:57:00.000+03:00

01 Until The Darkness - A very melodic intro, much keyboards, rataplan, fake violins, you know the stuff... and a voice which is very similar to Eisregen
02 Seelenfrost - Slow build-up before it comes harder.. but you can't really feel the anger they're tryin to bring out... mostly boring
03 Winds Of The Dusk - Much better stuctured, with midtempo phases, best song 'til now, but the voice's still a bit powerless
04 Shadows Over Gods Creations - Good atmosphere at the beginnig, the voice is squeakier and more powerful, typical slow-melody-line with fast interferences... one of the better songs
05 Todeshass - Begins very stereotype, but the dark guitars in the background are bringing a good feeling on. It's a 8:40 song, fullfilled with all kinds of how-to-play-blackmetal. Sorry, but at least after 5 minutes it becomes boring. Well, the melodic pre-outro is nice.
07 The Dark Manifestation - A fast, melodic guitar plays the leader in this song. It becomes hymnic at some parts. Definitely the best song on the labum, even the voice ist still weak.
Balance : Well, for sure not that's year most innovative black metal release. But, you know, on every album there are many hidden reasons why someone likes it and the other one not. So, even if the verdict of my review isn't the best, in some parts i like this album.

Genre: Apocalyptic Black Metal
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A Mind Confused - Anarchos (1997) [Re-Upload]

2010-03-14T00:07:00.000+03:00

I feel as though I should start this review with a question. Why hasn't anyone reviewed this album yet? Is it because no one has heard this band? Or is it because no one was able to get the entire album? I was once like most people, I first heard this band on an internet radio show called Black Metal Radio. While first seeing the band name A Mind Confused really left me well.. puzzled. I decided to not bother to give them a listen the passed them by. Then while browsing one day I decided to give them a listen and once I finished listen to "Seducer of Pain Divine" wow was that second listen ever worth it. This album, released in 1997 (A Mind Confused's only full-length release) and it sounds like something that should have been done 10 years later. It is an absolute masterpiece. Every instrument is easily heard and compliments one another perfectly. Great melody, driving riffs, a touch of progression, and that renowned Swedish Death Metal vocal style. On Opening track "Blood Poem" there is a chilling sound of a woman screaming in agony which is a prelude to the album's over all gloominess. Then the riff kicks in and it add something seldom heard in most of the Swedish Death Metal I've heard, melody. On the second track "Consecration Of Death" begins with a primal scream and has a fantastic groove ladened riff with an equally groovy bass line to accompany it. Then we move onto the first track I've heard by this band "Seducer of Pain Divine" which has some great lead guitar, fantastic progressive style drumming, and course shrieking vocals that provide substance to the song as well. The album is very difficult to come by, but if you are lucky enough to find it you as well will be equally wowed by the band before Kaamos that was actually better than they are.

Genre: Oldschool Death/Black Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Abyssos - Full Discography (Re-upload)

2010-03-13T22:26:00.000+03:00

Abyssos was formed in January 1996 by Rehn, Meidal and Söderlund in Sundsvall, Sweden. In February 1996, Abyssos entered the Hedberska Studios to record their "Wherever the Witches Might Fly" demo, which features 3 hymns of Atmospheric, melodic and witching metal. The demo was released on the first of September and Abyssos gained a great deal of interest from various labels. This demo has received a huge response from all over the world. Indeed, several bands, fanzines and radio stations believe that it was the best demo released in 1996 and indeed the best demo to come out of Sweden. Shortly after the release of the demo tape, the band signed a deal with London based cult label Cacophonous. In May 1997, Abyssos entered Academy studios, situated in Yorkshire (England) to record their debut album - "Together We Summon The Dark" which features 9 tracks of darkest Satanic metal and was unleashed by Cacophonous in October 1997. The album features some of the most spectacular Vampyric artwork ever to be seen in this genre. In November 1998, Rehn and Soderlund returned to British shores to record their second album for Cacophonous at Academy, entitled "Fhinsthanian Nightbreed" (unleashed In May 1999) which encompasses 9 tracks of symphonic Witching Metal in the vein of such luminaries of the genre as Emperor and Dimmu Borgir. This album also features more spectacular artwork and finished copies appear with a fold out Horror Film style booklet. Due to the exemplary nature of the album artwork, merchandise will also accompany the release.

Genre: Horror Melodic Black Metal

Quality: all albums are in mp3@CBR320 kbps (CD-Rip, Lame 3.93)

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Together We Summon The Dark (1997)

Rather interesting CD with the only one disadvantage -- the time of it's duration. More than an hour of black metal -- It's to long, besides to me. To get a real satisfaction it's better to listen to it by parts. The sound remind me In Flames -- but a bit slower and with common black metal vocal. The songs are long lasting. Its structure is rather comlex, that's why it's very interesting to listen to them. Another advantage of this Cd is it's lyrics, which remind me lyrics of Cradle of Filth.

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Fhinsthanian Nightbreed (1999)
If you are a fan of Dimmu Borgir's Enthrone Darkness Triumphant or other symphonic black metal albums, you will definitely love this album!
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Abigor - Time Is the Sulphur in the Veins of the Saint... (2010)

2010-03-13T00:03:00.000+03:00

Anyone caught dreaming that Abigor were going to suddenly shy away from the post-modern, experimental direction they took with 2007's Fractal Possession is in for quite a downspell, as Time is the Sulphur in the Veins of the Saint makes its predecessor seem almost 'accessible' by comparison. Never one to abide by trends or give a flying fuck about what some backwards fanbase expects of them, Abigor have cemented their commitment to a vivid exploration of sound, loosely rooted in the black and industrial hybrid of their last effort, but straining the boundaries of balance and sanity. The entire album is a 38 minute concept broken into two untitled sections, thus one is removed from even the benefit of labeling its individual tracks. It is meant to be taken in at a sitting, which can become quite a trial as its ever shifting landscape rarely decides to about face and tread the same terrains. Progressive by the very definition, Time is the Sulphur in the Veins of the Saint is far beyond the constraint of simple idenfitication. There is metal here, and plenty of it, but it is almost always used as a percussive force or a titillating wall of melody that drives the narrative nature of this cerebral, paralytic story. Perhaps some of the most frenetic and insane fretwork occurs just beyond the 10:00 mark of "Part II", which sounds like earlier Cynic on crack, and P.K.'s bass is nearly as fragrant and volatile as his guitar. Yes, this is the type of album fans of Mr. Bungle, Ephel Duath or Dillinger Escape Plan might find themselves invested in, though they will be dealing with Arthur Rosar's debilitating, decrepit vocal candor which walks the fine line between a blacker aesthetic and the early adopted EBM torture of Skinny Puppy. But for the chaos present, there also rings a clarity, a penchant for moments of soothing and hypnotic scenery, like the clockwork that opens "Part I" (the more chaotic of the two presentations) or the haunting midsection of "Part II". Though I found myself drawn in, fascinated by the band's currency of anarchic sonic architecture, I will admit there are points at which the album does stumble forward to evoking each new level of consciousness. You become so reverent towards the sheer effort of the sound's entropy, that individual rhythms do not often feel striking or catchy apart from the sum of the composition. The guitar tones are often quite thin, as if to counterpoint the fuzzy, plumbing bass tone, and though it will often rage forward into something resembling a black metal blast, this is an album more of subtleties than brazen riffing. The previous Fractal Possession had a lot more moments that would scream out inside my head, but this is still an interesting journey that should satisfy fans of the avant-garde and bizarre (Solefald, Ulver, and Fleurety all spring to mind as bands who walk a separate, but similar path of the outsider). To make it even more fascinating, this album is part of a pseudo-set with the latest from France's Blacklodge, based around an Albert Einstein quote...not something you hear every day.

Genre: Progressive Industrial/Ambient Black Metal
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666 - Ave Satan! (2007)

2010-03-12T22:34:00.001+03:00

Hungarian oldschool true black metal in the vein of Watain, Carpathian Forest, Katharsis.

Genre: Oldschool True Black Metal
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Abuser - Threats Of Fate (2009)

2010-03-12T01:16:00.001+03:00

I often lament the lack of the truly good technical speed/thrash metal which once exploded forth from the European scene, in particular the sounds of bands like Paradox, Midas Touch, Pyracanda, Mekong Delta, Artillery, Vendetta, Tankard, and mid to late 80s Destruction. Well, to those of you who might feel the same, Italy's Abuser have arrived to offer you some degree of comfort. Take the sounds of the bands above, mix in a little Nasty Savage, Whiplash ferocity and perhaps an occasion or two of Realm's hyper wailing and you come up with something like Threats of Fate, which ironically feels like a breath of fresh air when so many of the younger thrash bands I encounter these days perform in a retro-tarded fashion that I'd sooner just skip, as they offer no other incentive to why you should be listening to their 'Thrash _ _ _ _" song titles and not just poring back through your back catalog of vinyl or CDs from the actual 80s. Sure, Abuser can't claim to 100% originality, but I will take this band over 50 of the party all night with hi-tops and scene credibility denim and patches that can't write a lick or a song worth a damn. This is not the type of technical, mechanical wasteland thrash metal that some younger fans might demand due to their tech-death addled attention spans, but in 1988 or 1989, this would have been considered right at the edge of progression. The band can play, and can fly off the handle at a blink's notice, but they don't...they restrain themselves to creating excellent series of riffs that take me right back to those seminal years where thrash evolved into one of the most complex forms of music on the planet, outside jazz and classical. This record was probably made for old farts like myself, but there is absolutely no reason it would not appeal to any who enjoy the old thrash sounds of the 80s. Each of the 10 songs displays strong compositional skill and a virtual onslaught of hyper riffing, all anchored through Walter Lamorte's multi-faceted vocal tone, which can shift from cruel to shrill instantly (and the backing vocals also help). He's also a great bassist, and well complemented by the dual assault of Marco "Toffa" Toffaletti and Stefano Bertolotti, or the spry and talented skin bashing of Lorenzo Graziani. Granted, there aren't a lot of songs here which evoke the epic, unforgettable chorus of a notable German band 20 years past, but they are all very level and tight, with a myriad of twists and turns plotted beneath the raging surface. Thinking up highlights is difficult, because they're all quite good, but perhaps "Creations" would stand out because of its wild frenetic wall of speed as the vocals sear across the fore like a ballistic missile. "Iron Ghost" has some huge grooves and melodic chords in there that remind me of something off Realm's sophomore effort Suiciety, and it's hard not to feel the pull of something like "Missing Convictions", "Flesh Eaters" or the surging power/thras of "Possession". After 9 original tracks, the band also features a fun and hammering rendition of Whiplash's "Spit On Your Grave" from the Power and Pain debut. There is not a lot of room for improvement, because Abuser are really damned good at what they do, especially for a band that has arrived from out of nowhere. The chorus parts could probably do a little more to catch the ear if the band wanted to really stand out alongside their forebears, but this is little cause for complaint if you have the patience to just appreciate the entire passage. The mix is good and raw, just like something out of the 80s, and that is all I ask. If you're fond of thrash that rises beyond the silly nostalgic image and actually delivers intelligence, venom and passion through both the lyrics and music, as thrash ALWAYS SHOULD HAVE BEEN, you absolutely must seek out Abuser, they are one of the best newcomer bands I've heard performing this style (alongside the USA's Vektor).

Genre: Oldschool Thrash Metal
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Abazagorath/Blood Storm- Ancient Entities Arise [Split] (2008)

2010-03-11T23:28:00.000+03:00

Abazagorath / Bloodstorm “Ancient Entities Arise”
Elegy Records

“Ancient Entities Arise” is a collaboration by two prominent USBM hordes Abazagorath and Bloodstorm, brought forth by the acclaimed label Elegy Records. For each band this release has the common element of flow. Abazagorath’s songs flow seamlessly from one to the next, a clear demonstration of the thought and musicianship put into this release. The payoff is big since “Ancient Entities Arise” takes the band a giant leap from their previous album “Sacraments of the Final Atrocity”.

Abazagorath’s contribution is a strong hail to the Black Flame of the early days. Each song is riff after riff of transcendence from ambiance to sheer blastbeat madness. “Ancient Entities Arise” is easily Abazagorath’s greatest accomplishment to date and gives much promise for future releases.
Bloodstorm return with more of their same output of filthy Thrash with a touch of Blackness. It would be unfair to compare to Abazagorath’s half since Bloodstorm is not a band any fan would expect a significant change from. This is Bloodstorm’s charm! They pull off the element of flow as their partners do, as one dirty layer of Thrash unveils another equally filthy and black. If you’re already acquainted with Bloodstorm’s usual carnage, then “Ancient Entities Arise” is essential.

Genre: Melodic Black Metal | Black/Thrash Metal
Quality: mp3@CBR320 kbps (Lame 3.93, CD-Rip)
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Aeba - Im Schattenreich... (1998)

2010-03-11T17:18:00.000+03:00

Formed in 1992 as Eternal Suffer, changed name to Aeba in 1994 in time to record their first demo, "The Rising". AEBA (denoting the initials of the four book of revelations archdemons Astaroth, Eurynome, Bael and Amducias). When you talk about a black metal band who can mix the true raw nature of this style with keyboard sounds , and a harsh vocal which comes from the depths of hell then you must talk about Aeba .This demo/album "Im schattenreich" is a very good one you relly must listen to this if you are into black metal of a good quality!!!

Genre: Apocalyptic Black Metal
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Aeternum - Dreamy Silken Moontew (1999)

2010-03-10T22:53:00.000+03:00

Metal full of soft melodies, and sadness. A Death Metal touch is given by the guttural vocals, but influences are also gotten from Black and Doom. The diverse Swedish melodies don't keep Aeternum from being monotonous. Good oldschool death/thrash metal with doom & black influences.

Genre: Oldschool Death/Thrash Metal
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Ador Dorath - Adon Nin Edeleth Ador Dorath (2002)

2010-03-09T00:44:00.002+03:00

I have a kind of empathy for Czech Republic so I searched in the wwweb for a Czech metal band. I found this gem and I confess: this is was my biggest discovery of “unknown metal”. Played Moonspell and Samael covers in the early times Ador Dorath (AD) manage to have present in their music the darkness of these bands. AD is a 7-piece band with superior musical skill that owns an unique style. Successfully combining black, symphonic, goth, folk and dark metal, they classify themselves on their website as “obscure psychotic mysteries". Their main lyrics themes are nature and paganism which contributes to a kind of an epic sound. With guitar, bass guitar, and keyboard, all the players have accomplished their objective – the good work! The album has some very catchy/appealing elements even though the album doesn’t have much "solo time". The bass can be heard and as the dual guitar, it’s used greatly! The keyboard and synths creates an incredible dark atmosphere that you can see in the whole album. Basically, remarkable! The drummer does a good job with breakdowns, a lot of double bass, and blast beats. Let’s check this great album that came out at the end of April of 2002. The best and the heaviest song of the album is “Garden of Earthy Pleasures” which is downloadable it from their website. It starts with the drummer playing a punk-like beat that then “ascends” to with strong double bass. The two vocalists, Ivoš Dosedìl (the male vocals) and Lenka Machová (the female vocals), do a nice job of this. Still, their best performance is in “Circle” and “Hail to Majesty”. The first one remembers Samael or Satyricon rasps with complex riffs and the keyboard is bringing up greatly. “Hail to Majesty” has a name that fits the content! The atmosphere, the nature theme lyrics and the introducing of the harpsichord take this track to the highest degree. While Dosedìl applies screams, growls and clean (few) vocals into the music Machová employs an opera style like Tarja, ex-Nightwish. These dualities between male and female voices create an interesting sound and give a dissimilar personality to the band. “Arcana artis” (2nd track) is an instrumental track that contributes to the dark and interesting atmosphere while is connecting the “Ubique daemon” (a good opener) to “Metamorphoses”, which is a well worked deep dark emotional song. “Pharmakopoeia” is different and it’s stunning, another epic sound like song. Some tracks have Czech lyrics like “Adon nin edeleth ador dorath” (entirely) and “Ubique daemon” (some parts). “Adon nin edeleth ador dorath” is the slower one and can be considerate a chapter of reflection with the female vocals going along with the harsh vocals. All the songs have a complex and different structure with many elements and ideas that together came out well, turning every song different and the opposite of annoying. The score could get higher if they didn’t include the “bonus” track, which is completely superfluous in my opinion (sounds like a stupid instrumental rap). An amazing job for a band that released this without a label, but is now re-edited by Shindy Productions.

Genre: Melodic Black/Gothic Metal
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Adem - Golgotha (1988)

2010-03-08T22:42:00.000+03:00

Second album in the great traditions of oldschool thrash metal! Enjoy! Only for oldschool metal fans!

Genre: Oldschool Thrash Metal
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Adem - Time Of Madness (1987)

2010-03-08T22:12:00.000+03:00

Great oldschool thrash metal in the veins of such groups as Metallica, Slayer, Testament.

Genre: Oldschool Thrash Metal
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A Canorous Quintet - Full High-Quality Discography

2010-03-08T17:24:00.001+03:00

A Canorous Quintet was formed in 1991, as “A Canorous Quartet”. The initial line-up consisted of Fredrik Andersson - Guitars, Mårten Hansen - Vocals, Mattias Puttonen – Drums and Linus Petterson – Bass. When the band changed name to A Canorous Quintet in 1993 they had made some drastic changes in the line-up, Fredrik was now handling the drums and with the addition of two new members; Linus Nirbrant and Matthias Ehlin on guitars. During the second half of 1993 the band recorded their first demo “The Time Of Autumn” on a 8-track portable studio in the rehearsal room. The demo was made into 100 copies and quickly sold out in the growing underground metal scene of Stockholm. The band split-up in 1999. In 2005, they reformed under the name The Plague (Swe), which later changed its name to This Ending.

Genre: Melodic Death Metal/Gothenburg
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Silence Of The World Beyond (1996)

First and foremost, in regard to ACQ's name - I actually found their name to be unusual, yet rather original. I by no means thought or think that it was a stupid or inappropriate name for the band. I'd go as far as to say that I wish that they kept the name. It stands out. I regard this as the best melodic black metal - yes, melodic black metal - yes - THE BEST - disc released, to date. Yes, even over Vinterland. Even over others. I see that they're listed as melodic death metal and such, but this disc leans way more, musically, towards the blackened side of metal. Since I first got this CD, way back when, the riffing always impressed me. As I tend to mention in most (all?) of my reviews, I feel that great riffs are the very foundation of any good metal disc and/or metal band. Without lasting well-written riffs, metal would be nothing. "The Black Spiral" is particularly notable when referring to this subject. The track opens with an unusual but great riff, and is followed with what is definitely one of the best and most brilliant melodic black metal riffs ever. The disc never loses its appeal from start to finish. It's a true "cover to cover" release, so to speak. As I said, I've had it for years, and still to this day, any time it comes up on random on my metal-packed 250GB MP3 player that's on perpetual random, it gets turned up. It's truly no less impressive than the first time I heard it. What keeps this disc out of the 90's rating bracket is the production. The disc doesn't sound awful, but it does sound pretty "thin". This is surprising considering that Tagtgren did the disc. It's over a decade old, sure, but the recording technology was there at that time, and I don't feel that good ol' Pete really took full advantage of it. "Silence..." has a couple absolutely timeless songs, in addition to "The Black Spiral". "In The Twilight Of Fear" is one of them. A definite extreme metal classic, if you will. It seems that all quality extreme metal is overlooked to some degree, but I'm certain that this disc was, even moreso. I'm sure that based on the age of this disc it's probably a whore to find, but do yourself a favor and do what it takes to find it.
(© Metal-Archives, by Brutalnet)

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The Only Pure Hate (1998)

…it’s better than the debut! First time hearing this I wasn’t so please and felt it was boring and unnecessary. Wrong dumbass! This is by far the best release these guys have created – even their newer shit under a different band name doesn’t compete in the slightest bit. Immediately opening with “Sefldeceiver (The Purest Of Hate),” I picked up on the heavy thrash influence. The track is fast-paced, melodic, intense, and as fun as pillaging. In fact, most of the songs are like this, but they don’t get tiring or redundant at all. The riffs themselves keep me entertained as they churn around, chug endlessly, and paint a bloody red picture in my head like the cover art. That said, the riffs are darker and more sinister than the previous album, which aimed to be more classical and innocent. The most ferocious aspect is the drumming: complacent double bass, cymbals torn asunder like crazy, and a berserk pattern overwhelm the listener while the guitars go in for the mercy kill. This is expected from Andersson, who joined Amon Amarth before the creation of this album and thus gained a bit more experience – it shows. Another surprising fact is that solos are more abundant and kick more ass than ever before. “The Void” had me so entranced by its bridge solo and the following riff of desolation that I had to make sure it was the same band. Ultimately, this album will sound exactly like Amon Amarth – the stampeding rhythm, crushing riffs, malevolent bass (doesn’t play a huge role), and the shredded screams of Hansen are all similar to early Amon Amarth. The only real difference is that this album has a “thinner” sound and thus the impact isn’t as thunderous. Compared to the debut though, it’s pretty powerful stuff. The riffs themselves sound romantically tragic and more convincing in supremacy. Growling like Amon Amarth would have been preferred and to some extent Hansen does some, but the majority here are screams that would fit better on a black metal album. So uh, wow, quite the change in the right direction. To bad these guys would fuck it up by breaking up for a few years and then getting back together to form a shitty industrial / Gothenburg band. They could have easily continued this progression and made something along the lines of Sacrilege, another hostile melodic death band.
(© Metal-Archives, by OzzyApu)

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Accidental Suicide - Deceased (1992)

2010-03-08T16:20:00.000+03:00

This is one of the creepiest, most eerie death metal albums ever recorded. This is an album for those who love the sounds of early-1990s death metal. It is a great album for death metal beginners and veterans alike. The guitars move quite quickly throughout the record, but the overall tempo of the songs is mediated by the drums, which run from slow to mid-tempo, with only a few fast parts. The strings utilize a foggy, blunt tone that is fuzzy without being ear-piercing or unclear. The bass is low and deep, with blunt attack and no punch (likely the bassist uses fingers rather than a pick). Add to this some vocals that rely on quick jumps from high-pitched shrieks to guttural growls in the same syllable, and the net effect is a sound that is gentle enough to convince you to let your guard down, yet for this reason manages to infect you with absolutely sickening melodies and tones. Sickening is just the right word, too: the songs make you feel like you're vomiting endlessly into an abyss filled with rotting green corpses, and I mean that in a good way. There are some moments on the album that will make any red-blooded metalhead burst into gore-obsessed giggles. to a pulp against the nearest concrete slab. This is one of the real gems of the genre, and is not to be missed. If you love that eerie early 1990s death metal sound, this is the album for you.

Genre: Oldschool Death Metal
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16Volt - High-Quality Discography

2010-03-08T13:03:00.002+03:00

Genre: Industrial/Crossover/Coldwave/Alternative
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Wisdom (1993)

Wisdom is debut album of Eric Powell's one-man studio project 16volt. It was co-produced by David Ogilvie (Nine Inch Nails, Skinny Puppy) and Keith "Fluffy" Auerbach (Ministry) and was released in 1993. Met with worldwide acclaim from fans and press alike, Wisdom officially put 16volt on the map and, along with Powell, was credited with helping spawn a genre of industrial known as "coldwave."

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Skin (1994)

Skin, 16volt's second album, is a must have for fans of classic coldwave / industrial. guitar and electronics are fused together seamlessly, fans of twitch-era ministry will feel right at home. though some of the tracks have a bit too much grinding guitar, the tracks are all very melodic and well written. a very good album from one of the pioneers of industrial rock.

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LetDownCrush (1996)

All in all, Letdowncrush clocks in at a svelte 40 minutes, which actually gets bumped down to a half an hour if you cut out "Carla's Tarantulas" and "Something Left", which you will do. It's a half-hour of adrenaline, the clichйd half-hour of power that I need to get my spirits up when I'm down, get me back to the more productive things in life. It's amazing what you can accomplish once you've tossed yourself around a room for half an hour with no abandon. So give it a try. But don't forget -- you might not like it. Don't say I didn't warn you.

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SuperCoolNothing (1997)

Touring with Korn and Chemlab helped bring 16 Volt to the attention of the mainstream in the late '90s. Officially parting ways with Cargo Records in 1998, the band signed with Mercury and followed with the release of their fourth album, SuperCoolNothing. With the direction of co-producers Bill Kennedy (Nine Inch Nails, Marilyn Manson, Alice Cooper) and Joseph Bishara (Danzig, Megadeth, Billy Idol), Eric Powell and company were given room to fully realize their talents, enabling them to craft a menacing album full of whisper-to-scream verses, explosive choruses, and brooding electronic soundscapes. "I Fail Truth" sets everything in motion with its mix of brutal machine-gun beats, angst-ridden verses, and soaring choruses. This formula is also used on "Everyday Everything," a track that would have sounded right at home on Nine Inch Nails' Broken. Drawing similarities between the two acts can be an easy trap here, made even easier by the fact that former Nine Inch Nails drummer and producer Chris Vrenna provides live drums on SuperCoolNothing. After listening to the album in its entirety, however, Powell's own style becomes more apparent, and the distinction between his songwriting and that of Trent Reznor becomes clearer. The album's most immediate track, "Keep Sleeping," reveals an eerie similarity between Eric Powell's vocal stylings and that of Jane's Addiction/Porno for Pyros frontman Perry Farrell. With its nursery rhyme-like qualities, the track obscures its malicious intent with a gentle singalong vocal melody that floats over a bed of crushing guitar riffs. Surprisingly, not all of the album's best tracks are its fastest or hardest. "Moutheater" successfully uses its slow and haunting build to intimidate, while "Low" and "At the End" each offer twisted comfort in their lullaby-like, yet sinister approach. In a genre where imitation is often the easiest path to commercial success, Eric Powell continues to concoct his own unique blend of industrial rock, punk, and metal. SuperCoolNothing establishes 16 Volt as an important band in industrial music -- add to that the fact that Powell has single-handedly built his career around a strict D.I.Y. philosophy, and there's even more reason to be impressed. ~ Don Kline, All Music Guide

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Demography: The Basement Tapes (2000)

If your one of those people who find themselves drawn to a dark smoke filled New York City Gothic clubs, then this album will bring you right back there. I myself love this experience and this album portrays every ounce of what Gothic/Industrial is all about. If your a Depeche Mode, KMFDM, or a true industrial music lover at heart, this is a must album.

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FullBlackHabit (2007)

FullBlackHabit is a sure rarity in the 16volt discography as the album seems to run a fine line between the caustic rage we've come to know and love from them and the softer, more introspective side to Eric Powell that up to now has only barely scratched the surface. The songs are aggressive, yet concise enough to leave the listener aching for more. The trademark melodies and choruses are present, as are Powell's signature sense of lyrical venom that puts him on par with Nine Inch Nails. It's certainly one of 16volt's more diverse albums, aided by an equally diverse set of support musicians such as Paul Raven of Snow Black and Ministry, Steve White of PIG and KMFDM, Jason Bazinet of SMP, Scott Robison of Drøne, and Kraig Tyler of Virus23 and Chemlab. Longtime fans of 16volt should certainly be pleased, for FullBlackHabit has all of the elements essential to the 16volt sound, signaling the return of one of industrial rock's finest acts for a new generation.

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American Porn Songs (2009)

One would think that 16 years in the underground music scene would take its toll on a band like 16Volt; if not because of the changing trends or the shifts in music-making techniques that occur over so long a period of time, then certainly due to the demands, expectations, and general tastes of the audience. 2007's FullBlackHabit proved not only that 16Volt had lost none of its edge during the nine year hiatus between that and the previous release, SuperCoolNothing, but the ensuing tour demonstrated that when it comes to good old-fashioned machine rock, the audience knows that 16Volt can and will deliver. Hot off the heels of the tour, Eric Powell and Mike Peoples returned to the studio with KMFDM's Steve White and SMP's Jason Bazinet to create what is undoubtedly the most sonically and emotionally diverse 16Volt release ever. Featuring an all-star lineup of guest collaborators, including Tim Skold, Cyanotic's Sean Payne, Drøne's Scott Robison, Bildeaux Sarver of Graphic, and Jeremy Inkel of Left Spine Down and Front Line Assembly, AmericanPornSongs is 15 tracks of unbridled industrial aggression and rock & roll fury that sounds just as relevant as it did in 1993 when 16Volt first appeared. As with FullBlackHabit, AmericanPornSongs is a mixed bag of old and new songs; tracks like the alternative metal drenched in battery acid intro of "Alkali" and the blistering barrage of grating guitar riffs and pounding percussion of "American Porn Song" are finally updated from their previous demo status to become fully-fledged songs in the band's repertoire. And then to hear songs like "With Fire and Burning" or "The Lord Doesn't Want Her," both with their deceptively simple bass lines leading to intensely melodic and guitar-driven choruses, while also experimenting with off-kilter time signatures as in the latter track, there is no doubt that Powell and company have not abandoned those elements that are at the very heart of 16Volt's songwriting. The main thing that keeps those songs, or even the guttural industrial chug of "Blackbird" and "Useless People," from sounding like they could've appeared on past albums is the production, filled to the brim with rusty and corrosive textures and cleverly designed glitches that only serve to augment 16Volt's signature sound. The last two songs on the album are somewhat anomalous; "Somebody to Hate" is a full throttle thrasher that presumably takes a lyrical stab at the religious and conservative right, but with a screaming chorus somewhat reminiscent of Filter, and "American Bomb Song" is a darkly ambient instrumental of clanging metallic beats and squelching synths that - in a first for 16Volt - was written by neither Powell or Peoples, but by Scott Robison, ending the album on a classically industrial and grimly foreboding note. If there were any doubts as to whether 16Volt would be capable of producing a worthy follow-up to FullBlackHabit, they can happily be put to rest as AmericanPornSongs has nary a soft moment; when there are any, they are few and always followed by some of the hardest hitting industrial rock yet produced. Above all, Powell's songwriting prowess shows no signs of diminishing, nor do his vocal abilities as he harmonizes with himself flawlessly and exhibits a melodic range that few in this scene even care to attempt, and while the guest list is long and distinguished on this album, the presence of past collaborators like Marc LaCorte, Joseph Bishara, and onetime band member John "Servo" DeSalvo helps to make AmericanPornSongs as classic an album as anything in the band's discography. Even those who dislike 16Volt will find much to behold with this album, making it not only the band's finest work to date, but perhaps one of the best in the underground industrial scene.

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Adramelech - Terror Of Thousand Faces (2005)

2010-03-05T11:55:00.000+03:00

Quite curious to check out these guys, I was. Name is Adramelech and they hail from Finland. They have actually been around for quite some time now since they where formed back in 1991. For that period until now they've released a couple of demos, MCD's and 3 full length albums, "Terror Of Thousand Faces" being their latest chapter. As I was saying, I was curious to check out these guys because their music style came described as Finnish Death Metal. Well we all know that Finland is one of the best countries when it comes to metal bands, and for something to be described as Finnish Death Metal I imagined it had to be some old school shit. I was never much into the old school stuff, I mean, I didn't desliked it, I just rather listen to some of the more recent stuff. But with time that style grew on me, and I have to say, Adramelech are a very good band when it comes to this. Death Metal, I mean. So what can one expect from "Terror Of Thousand Faces"? Well, how many ways do you know to describe a Brutal Death Metal band anyway? Fast and powerful drumms and guitar riffs, and the usual growls/harsh vocals. That pretty much says it all, but the next step is checking out how good any of those features really are. And to be quite honest, they all kick ass here! The vocals are not the kind of growls that annoy you and still you can understand the singer is actually saying something. And the drums and guitar riffs are also quite well performed, so great job there as well. But like everything, this album has a downside which may not even be that bad, but still it made me change their final not a little. The thing is that the album only lasts 29 minutes, which is not that uncommon for Death Metal bands, but still... Well, it would be worst if the music sucked, right? So maybe it's not all that bad. And that's it, any Death Metal fan should check this band because all the ingredients for a solid release are here. Recommended!

Genre: Oldschool Death Metal
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Adramelech - Pure Blood Doom (1999)

2010-03-05T11:51:00.000+03:00

Adramelech are best known for sharing a couple of members with Demigod. As a result, some dismiss them as the poor man's Demigod. This isn't totally true, for Adramelech do have a style of their own. Comparisons have been drawn to a range of other bands from Massacra to Atrocity - though recorded in 1999, the album sounds more like it is from the first half of the 1990s. Basically, the riffs are in a style halfways between eighties death metal and European early-nineties death, but the song structures (the music's "skeletons", so to speak) are far more complex and epic than either of those with each song having a distinct narrative structure. This combination of dynamy and in-your-faceness is perhaps where the main similarity with Demigod is, but there's a serious difference in tone. Where Demigod is mysterious, Adramelech is martial. The tone of the album is more aggressive and destructive, if so in a disciplined rather than feral way than introspective and metaphysical. "Pure Blood Doom" also incorporates some black metal elements Demigod don't - mostly the entire epic, mythological feel. The reason this mostly works is that the complexity doesn't ruin the atmosphere or make it difficult to get into. It's not quite as good as "The Slumber of Sullen Eyes" but still worth getting.

Genre: Oldschool Death Metal
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Adramelech - Psychostasia (1996)

2010-03-05T11:45:00.000+03:00

Adramelech's debut is an absolute gem that was somehow lost among the masses of quality output from Finland during the early/mid 90’s, and one that will hopefully be able to thrive with the internet. It's got all of the quirky charm of other obscure albums which have been dug up over the last few years, but it's still fast, catchy and aggressive at the same time.

Genre: Oldschool Death Metal
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Aeon - Bleeding The False (2005)

2010-02-24T21:40:00.003+03:00

In light of a new Aeon disc coming out, I've been listening to their last disc a whole bunch recently. I figured I'd throw out my opinion on it. Aeon is a Swedish death metal band whose sound can basically be described as Cannibal Corpse's riffing sensibilities with Deicide's lyrical slant. It's amazing these guys didn't come from Florida. One of the things that really hooked me to Aeon at first WAS the lyrics. I think they're hilarious, and are totally tongue-in-cheek. I'm entirely confident that the guys sat around and tried to come up with absurd, hilarious anti-Christian lyrics just for the sake of it. Song titles include "Bible whore," "Satanic Victory," & "God Gives Head In Heaven". If you can sit through your first listen of "God Gives Head In Heaven" and not laugh your ass off at the lyrics, you're a better man than I. Tommy Dahlström's delivery on said lyrics is excellent as well. He's really easy to understand, so you don't need to read the lyrics to get the full scope of them, as you do with some bands, and he just sounds brutal. The rest of the band is excellent as well, the riffs and solos provided by Daniel Dlimi and Zeb Nilsson are all around excellent. The riffs are technical and punishing and the solos are well written. The interesting thing to me, is on this album at least, they appear to be using a lot less distortion on their amps than most death metal bands do nowadays. It almost gives it a kind of 'old school' feel. the bass is audible, and well played, but doesn't do a lot of fills or anything. It's mostly filling the low end out on the riffs. The drumming is excellent as well, and quite varied. The best thing about this CD is that there's no throwaway tracks, aside from the intro (Cenobites), the outro and that weird little ambient "Middle-tro" (Enchanter). The songs are quality enough to be a best of CD from a lesser death metal band. There's never a point on this CD where I felt like skipping ahead to the next track. Each track has its on unique sound (dare I say 'hook'?) or hilarious lyric that makes me want to 'sing' along. A great bonus, as noted in some other reviews, is the "Gospel" Version of "God Gives Head In Heaven". I think this may be the single greatest B-side/bonus track/whatever on any death metal CD. Its got everything stereotypically associated with Christian Contemporary worship songs -- acoustic guitar, Southern drawl singing and cheesy violin tracks. When it first starts, you'd think you were listening to something off of Country Music Television, until the singer starts belting out "Join your faggot god!" in a southern accent -- A definite winner. All in all, I'd say this was one of the most solid traditional death metal style CD releases of 2005.

Genre: Brutal Death Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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(V.E.G.A.) - Alienforest - A Sick Mind's Hologram (2008) [Limited Edition]

2010-01-30T18:06:00.000+03:00

This album gives us a more BM-oriented V.E.G.A. than what appeared on "Cocaine". The BM template the band follows is very aggressive and speedy with a strong guitar sound and a deranged air. The grim vocals aren't always clear and are often in danger of receding into the noisy music in the manner of US band Njiqahdda, sort of like dissipating into dust and spreading into the harsh noisy music. When the V.E.G.A. guys go off the beaten track, the music does tend to fall into near-disco mode but the non-BM pieces in the second half of the track show demonstrate less interest in dancey rhythms and more interest in creating atmosphere and experimenting with elements of sound, like tone and texture. "Cocaine" (the album) might have had more shocks and surprises, and the history lesson on "Alienforest - A Sick Mind's Hologram" may be full-on and chaotic but you may be hard pressed to find a more intriguing demonstration of a band's development and growth from a purely BM stance to one embracing an open attitude to different kinds of sound experimentation.

Genre: Experimental Industrial Black Metal
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(V.E.G.A.) Vacuum Era Gelid Atmosphere - Cocaine (2006)

2010-01-30T18:03:00.000+03:00

"Cocaine" is a very confounding album with very powerful music at times and which goes completely, maybe even wilfully, against expectations. I'm not too sure myself about the final track, it is definitely a pivotal track, but the styles of music featured seem rather dated (to me anyway) and even a bit comical. There may very well be intended humour here. There is not much atmosphere in this piece that would bring out the fear or awe or other feelings of the addict undergoing annihilation. Apart from my reservations, this is a compelling recording that, once you start listening past its first screech, grabs and, holding you against your will, mercilessly subjects you to the pain, anguish and darkness of the human subconscious in thrall to addiction or obsession.

Genre: Experimental Industrial Black Metal
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Aeon - An Extravagance Of Norm (2008)

2010-01-30T17:57:00.000+03:00

Very nice. Another interesting band emerges from the Polish scene. They are playing a style of music that falls somewhere in between a lot of different genres, although black metal is probably the best fit. Like a lot of the more recent Polish exports, AEON makes liberal use of dissonance. There are a lot of nice riffs in here, with some atonal, almost jazzy chords that remind me of Ved Buens Ende. Even the tremolo-picked riffs are interesting. Chunky death metal riffs occasionally make an appearance, too. Sometimes the music takes on a spacey, slightly cyber-metal feel, and these are the moments I like best. The vocals are closer to a death metal growl than a black metal shriek--nothing special, although they don't detract at all from the music. Any fan of experimental metal will find something to interest them in this album. Overall, the music is pretty accessible, despite its experimental tendencies. This is a strength, but also a weakness. I enjoy this album a lot, but there's a mildness to it that keeps me from getting overly enthusiastic. There are many riffs that I can tell are very cool, but that end up sounding a little bland. I'm not sure if the production is at fault--it's nice and clear, but also a bit flat and lacking in depth--or if there is a certain complexity missing from the music. In a way, the music is a little too subtle. The experimentation needs to be a little more aggressive and in-your-face. There are a lot of ideas in here, though, and the band is clearly talented. Definitely a band with a lot of potential.

Genre: Experimental Industrial Death/Black Metal
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Ad Noctem / Haemoth - Mortuales Delecti [Split] (2003)

2010-01-30T17:47:00.000+03:00

Genre: Raw Black Metal
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Ad Inferna - L'empire Des Sens (2002)

2010-01-30T17:37:00.000+03:00

Ad Inferna is a French black metal band formed in 1996 under the name De Profundis. After the release of two demo tapes and one CD (2000), they had to change the name because there were already several bands sharing the same name. I can't compare Ad Inferna's second album L'Empire des Sens to what they have done before, but the actual songs are at a very high level. Seldom before have I heard such great epic symphonic black metal. The songs are well arranged, often sounding even orchestrated with classical influences. Tons of guitars, keyboards and blasting drums make all songs really bombastic, without being too brutal or losing a sense for melodies. These may be typical black metal trademarks, but a difference between Ad Inferna and other black metal bands are surely the vocals which are not too high. Quite unusual is that the lyrics are in three languages: English, French and German. Ad Inferna really don't have to hide behind black metal giants like Ancient or Dimmu Borgir.

Genre: Symphonic Black Metal
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Act Of Gods - Maat (2006)

2010-01-26T20:55:00.000+03:00

In the review of their previous effort (“Stench Of Centuries”) I predicted that, given some adjustments, ACT OF GODS could produce a monstrous album. I was no wrong. With a fleshed up line-up (a supplementary guitarist is at work here, ACT OF GODS being now a quintet) and refreshed ideas, this French death squad offer us an album gorged with fundamental and archetypal Death Metal riffs. As soon as the short intro ‘Hiatus’ (with its certain nod towards PESTILENCE ‘Parricide’) kicks off, the first thing I remarked (and by which I was floored at once) is the huge tower of sound created in the studio. In the best of my memory, I have never heard a so corrosive guitar sound, razor-sharp and crystalline, a real feast for the ears. Musically, ACT OF GODS are clearly stuck in the classic way of Death Metal song crafting, it is neither modern nor retro, simply classic (think of the 1989-1991 era of the genre), a blend of early PESTILENCE with “Altars…” era MORBID ANGEL, just to give you a faint idea. Only the improvements of recording techniques betray the actual year of conception of this album. Need I say that such a release acts like a relieving cure especially regarding the alarming mediocrity of the present days Death Metal scene? On “Maât” (from the name of the Egyptian goddess, daughter of Râ and incarnating the supreme justice) ACT OF GODS have refined their song writing, sweeping away the monotony factor I told you about in my review of their previous album. The band are always busy experimenting with angular structures, trying (and achieving in the end) to never lose the listener’s attention. Fear not, when I say experimenting, I don’t mean fancy studio tricks, the music stays what old farts like me love so much when they think of great Death Metal. Surprisingly fresh while being predictable, ACT OF GODS could even be considered as an avant-garde band because they precisely play the purest form of Death Metal, a rare feat today. I can’t end this review without praising the remarkable vocal work offered here, the essence of Death Metal itself which brings back fond memories of the old scene! The only let down of this otherwise excellent record is the cover of TERRORIZER ‘After World Obliteration’ competently executed but without the spark of madness present in the original (I hate covers anyway). But the ten other tracks make it for this little annoyance! I regard this album as an essential acquisition for serious Death Metalheads. ACT OF GODS are now the very best Death Metal outfit in activity in France (no more “among the best”!), I can’t say more!

Genre: Technical Death Metal
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Act Of Gods - Stench Of Centuries (2004)

2010-01-26T20:49:00.000+03:00

This four piece from France offer us a really enjoyable first full length. With two ex-MUTILATED members within their ranks, it is clear right from the start that they are up to play oldschool Death Metal which is not very frequent these days, I am sure you will agree. Musically wise, ACT OF GODS remind me of classic American bands from the beginning of the 90s, like CANNIBAL CORPSE and "Imperial Doom" - era MONSTROSITY especially (for the intricacy of the songs and the overall sound). Extremely well produced by Stéphane Buriez (of LOUDBLAST fame of course) "Stench Of Centuries" features 11 tracks (12 on the vinyl version, the extra track being a MUTILATED one), each of them being equally good. Some monotony surges after a while because all the tracks are build on the same frame, so I can't say ACT OF GODS are a groundbreaking band in the Death Metal field. But damn, they are a shoulder above their competitor nevertheless, thanks to an excellent musicianship and the frantic conviction these guys demonstrate throughout the record. With VORKREIST and BLOODY SIGN surely the best French act in activity. And I guess that after some adjustments, the second coming of this band could be huge.

Genre: Technical Death Metal
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Acme - To Reduce The Choir To One Soloist (1996)

2010-01-26T20:41:00.000+03:00

Acme were the first band to apply a broad range of extreme metal genres to the hardcore scene. Their purest influences probably come from earlier hardcore bands like Rorschach, but these are hidden within a dense funeral fog of sludge, death, black metal and grindcore. Acme straddle it all without ever being confined to these genre limitations. Songs like ‘Attempt’ are the soundtrack to the end of the world itself; all-encompassing slabs of metal noise cascade into true majestic extremity. This is epic in a streamlined two-minute hardcore sense, not in a bloated, overindulgent metal sense. Acme lay waste to any of your pre-conceptions about the validity of the metal/hardcore crossover. People who like intense, dark, challenging, extreme music of any form should buy this yesterday.

Genre: Sludge/Death/Black Metal/Grindcore/Hardcore
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Acrostichon - Sentenced (1995)

2010-01-19T21:38:00.000+03:00

The biggest problem with Sentenced is very simple. The drum production. A lot of these songs had been played a while live and I also got some of them on a live vhs from those days. When Sentenced finally came out the production really damaged the the dynamics of those songs. And dynamics were something very important to the Acrostichon sound. Songs like “Shelter” and especially “Snapshot” represented the faster and more aggressive side of Acrostichon. “Snapshot” even had some typical thrash metal riffing emphasizing the speed. The songs “Forgotten” and “Victims” are the best songs here. Both around 5 minues and filled with changes in pace and key. They were typical Acrostichon compositions but the variation of the vocals this time were a slight step forward. Now two other new songs (“Murder” and “Monsters”) were also recorded but ended up on their earlier “Forgotten” EP. One wonders why did not make the album since they would easily have been two of the better songs! (“Murder” balancing between Snapshot and Shelter and “Monsters” being a very ‘happy’ and catchy death metal tune paying tribute to horror movies). If someone ever decides to re-release this album, do include these songs as bonus tracks. As said there is a slight progress on this album. Corine’s vocals aren’t always just deep and low anymore (don't worry, she doesn't really 'sing'). This really does wonders on some songs and makes their sound even more varied. Secondly guitarist Richard Schouten had been replaced by Michel Meeuwissen who played slightly thrashier than his predecessor. But in the end it is really the dated digital drum production that is killing the metal attitude of this album. The drums are triggered and the samples are far from adequate. One wonders if drummer Serge agreed to this since normally he is such a briliant live musician (as he shows these days with for instance the crossover band Milkman). “Sentenced” is pretty good but could have been so much better!

Genre: Death Metal
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Acrostichon - Engraved In Black (1993)

2010-01-13T00:03:00.000+03:00

Try to imagine combining Autopsy with Coroner and throw in some extra Black Sabbath and Candlemass. Acrostichon had character!

Genre: Death Metal
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Acid Death - Random's Manifest (2000)

2010-01-12T23:48:00.000+03:00

I just recently received this album after hearing about the band for well over a year. I must say... it's Progressive Death metal at it's finest. The first band that came to mind when listening to this exquisite album by the Greek metallers is Athiest. Then on further listen, I heard an assortment of Progressive and Death metal influences... such as Cynic, Death, and the like. Astounding guitar melodies, plenty of Athiest/Cynic type riffs, beautiful solos, and impeccable drum work make this album a MUST for any fan of Progressive Metal (unless you don't like harsher vocals) or any of the bands I listed above.
Best tracks: Psycho Love, Teach to Kill, and W.A.R.

Genre: Progressive Jazz/Death/Thrash Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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Acid Death - Pieces Of Mankind (1998)

2009-12-18T16:51:00.000+03:00

Classic extreme progressive jazz/death/thrash metal. Now such music is a classic of genre.

Genre: Progressive Jazz/Death/Thrash Metal
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Acid Witch - Witchtanic Hellucinations (2008)

2009-12-16T01:48:00.001+03:00

Witchtanic Hellucinations is destined to be a classic of the horror music genre. Psychedelic, It is what Black Sabbath or Deep Purple would have made had they discovered brutality before its time. Upon first listen it sounded like it could have been released in the late 80's early 90's. It had that Autopsy and early Impetigo feel to it. Still though that only adds to the murkiness and dark matter that surrounds this opus. Acid Witch are one of the latest bands to sign to Razorback, an original and outstanding record company that has been releasing old school thrash, doom, death, gore and grind to the extreme loving universe for years. This is Acid Witch's debut album which is a conceptual album based around witches, the macabre and deadly ritual spells. Musically speaking it's pretty damn refreshing. The bass shines through on most tracks which adds a really thick and heavy layer to the high pitched guitars which keeps an equal slow chugging with the drums. Lasse's vocals are gutteral and are what I come to expect for slow paced doom/death. In the song The Black Witch there is a really cool wa- wa effect that repeats itself a few times, it also emerges again in Swamp Spells for a short while before a witches cackle could be heard and then again till the song ends. An eerie sounding organ on the title track that has that Doors and Iron Butterfly feel, is sort of cheesy but does add to the many textures of the song. Acid Witch is all about experimenting with odd sounds, unorthodox beats and sound imagery that makes Witchtanic Hellucinations the best thing in a long time to emerge from the horror hives. Acid Witch is, in my opinion, the future of horror metal and Lasse, Shagrat, and Dave (LSD) I hope will continue to make scary music together. This is definitely for fans of Autopsy, Necrophagia, old Mortician, Repulsion and Impetigo.

Genre: Psychedelic Oldschool Death/Doom Metal
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Acid Drinkers - Fishdick (1994)

2009-12-14T01:03:00.000+03:00

I think that track-list will be better here than review! 1. Ace of Spades (Motorhead cover) 2. Oh, No! Bruno 3. Deuce (Kiss cover) 4. N.I.B. (Black Sabbath cover) 5. Another Brick in the Wall (Pink Floyd cover) 6. Whole Lotta Rosie (AC/DC cover) 7. Run Run Away (Slade cover) 8. Fuckin' the Tiger 9. Highway Star (Deep Purple cover) 10. Ballada

Genre: Thrash Metal/Crossover
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Acid Drinkers - Vile Vicious Vision (1993)

2009-12-13T23:23:00.000+03:00

They are called the best thrash metal band in Poland. As I listen to the album Vile Vicious Vision it occurs to me that this disc stands closer to a Sex Pistols release more than any thrash metal group I can think of. There is a punkish attitude to this work that gives these guys an unmistakable sound that is truly their own. There are times when it even sounds like lead singer Tomek "Titus" Pukacki is trying to do a Johnny Rotten imitation. Songs like the title track "Vile Vicious Vision" with it's frenzied pace for most of the tune and "Pizza Driver" that leans more to the old school 80's metal, show off this sincere form of flattery. While there are times you could call them a thrash band, I think that they cross into many other styles that make this disc an interesting work. While lyrically there is a lot to be desired, they keep the disc flowing with some very diverse and dynamic music. There might not be enough here to keep you coming back time and again but it will give you good reason for an occasional foray into the land of the Acid Drinkers. If for nothing more, you can find their version of the often covered 60's staple "Then She Kissed Me". This one sounds similar to the Kiss cover version if you pulled out your old vinyl and cranked it up to 78rpms. The furious pace just exemplifies the nature of this group which carries throughout the disc, at least until they dip into the deep past for a real old time send off with the tune "Midnight Visitor". After the frantic pace of this disc they send you off with a little bit of doo-wop that goes a long way to show that this band does not fit into any one category. They are just a bunch of guys who play what they want and don't seem to worry about where people try to pigeonhole them.

Genre: Thrash Metal/Crossover
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Acid Drinkers - Strip Tease (1993)

2009-12-13T21:43:00.000+03:00

The year was 1992 and metal was being swept away by grunge in many circles. However Poland's Acid Drinkers didn't seemed phased or concerned about the shift. If anything they seemed more than content to continue on in the direction that they had established with their first two efforts. This album includes a whopping fifteen tracks If I were a gumdrop then I would be grape. Almost everyone gets in on the action this time around as "Titus", "Litza" and "Popcorn" all contribute vocals. Always big on covers, the band contributes two here with an acoustic version of Metallica's Seek & Destroy. It is sung by a polish artist, Edyta Bartosiewicz. The second cover is "Menel Song/Alway's Look on the Bright Side of Life", a remake of a song by Monty Python. Both fit it very well with the band's less than typical approach. Their mix of thrash, punk and off the wall arrangements works wonders in large part to their sense of humor and unrestrained enthusiasm. When I can pin down influences I hear Anthrax, Dead Kennedys, Tankard (minus the beer soaked lyrics) and they even toss in some Guns n' Roses inspired bursts as well. Acid Drinkers were more than just a joke or novelty band though. The music is tightly woven and the flow is spectacular. They were about being off the wall than getting some cheap laugh and that's a large part of their appeal. It also gave their material a fresh feel that still works today 17 years after the fact. My only regret is that I didn't hear this back in 1992.

Genre: Thrash Metal/Crossover
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Acid Drinkers - Dirty Money, Dirty Tricks (1992)

2009-12-13T19:14:00.000+03:00

Poland's Acid Drinkers were back for their sophomore effort in 1991. Now I wouldn't go as far to say that they had mellowed since their debut, but they were overall less chaotic this time around. The Dead Kennedy's influence is perhaps even greater this time around. These guys were still rooted in thrash as well, say similar to Anthrax. However none of that quite does justice to the gung-ho direction of Acid Drinkers. They take metal, punk, hard rock and stir it all up in the pot and then pull just various elements from their arsenal as they see fit. Having that kind of take on their music allows for it to be both surprising and exciting. At a time when many metal bands were becoming all too predictable, these guys seem to have more than their share of ideas and they were not afraid to use them. They also benefit from not caring much about labels or sticking to one style. They pretty much just did what they wanted to. Obviously they had more varied influences than some of their peers, but these guys knew how to pull it off as well. Pulling off this style isn't something that everyone could do. This kind of insanity has to have a flow to it to really work, but apparently this band had the kind of skill and personality to make it look easy. This disc didn't have quite the spontaneous feel of the debut. It's close, but the debut just had more pace and style changes. Still this is another fine chapter in their career of this long running band.

Genre: Thrash Metal/Crossover
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Acid Drinkers - Are You A Rebel? (1990)

2009-12-11T21:41:00.001+03:00

It's clearly evident that Poland's Acid Drinkers are one unique bunch of guys. Certainly not a household name, they relish in blazing their own path of chaotic thrash metal that's equal parts humor and aggression. Surprisingly enough, they've been stomping that trail since 1990, the year their debut album first hit shelves on an unsuspecting public. Still active to this day, the band seems intent on never pandering to the mainstream and, instead, focusing on writing the kind of music that got them to the dance in the first place. Although, with song titles such as "Barmy Army," "Woman with the Dirty Feet," and "Nagasaki Baby," this might be the weirdest dance you ever attend. With such an eclectic sound, nailing down influences for these guys can be tough. They certainly don't copy anyone's sound directly on Are You A Rebel? Metal-wise, you can certainly hear shades of Anthrax in the tunes. From the perspective of launching wide-scale humorous assaults on all bounds of decency and complacency, Acid Drinkers are more akin to a band like Dead Kennedys. In other words, subtlety feels like a cold, hard slap in the face when listening to this record! It's really only for fans of the thrash metal genre, and even still, it won't appeal to everyone in that group. In fact, some might find this music to be slightly immature and disposable. Lyrically, everything is fairly low-brow, which creates an interesting dynamic when paired with the consistent heaviness of the musical arrangements. Opening track "Del Rocca" is a rare exception to the humor, reportedly about the experiences of one of the band's friends in the Army. The vocals are somewhat grating due to lack of melody but the guitar playing is continually exciting from start to finish. Pair that with the hammering drums and there's a feeling of frenzy, half abnormal excitement meets half emotional disturbance. Listening to songs like "I Mean Acid (Do Ya Like It?)" and "F--- The Violence (I'm Sure I'm Right) gives you an idea of how aggressively self-assertive these four musicians really were in 1990. Do all the experiments work? Certainly not, but you can still hear a noticeable energy in this recording almost twenty years later. Obviously, the band members were full of fresh, raw vitality while recording Are You A Rebel? and embraced going off on their own weird musical tangents, no matter what anyone else thought of them. The songs might not be all that memorable, but the effort is undoubtedly there.

Genre: Thrash Metal/Crossover
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Ad Hominem - Dictator - A Monument Of Glory (2009)

2009-12-09T14:04:00.001+03:00

For someone that has not listened to Ad Hominem before I approached this album with an entirely clean slate, ready to judge on what was displayed before me as I had no preconceived ideas of what the music was going to be like. Of course, one always hopes that the music is going to be good and that it’ll be something aesthetically pleasing, and "Dictator – A Monument Of Glory" certainly is. From start to finish you’re treated to some great Black Metal with many outstanding qualities that help to make this album the gem that it is. The album starts with an introductory track entitled "In Power", which is an ambient piece that’s job is to lead up and help to ensure that when the first song enters the frame that it’s executed in the best possible way. It starts off with as a very simplistic beat, but gradates to become something far more complex and indulging as it progresses. Towards the end of this introduction you’ve got a vast array of sounds that blend together and carry with them a sense of foreboding, which helps to build up the atmosphere for when the first track enters the frame. This introduction is absolutely spot on with its intentions and as such means the album can continue from a successful beginning, which is always important. Another very good aspect of this album is how all the instruments work well together, and it’s very hard to distinguish a weak link, if there is one at all. The songs possess strong fluidity and flow well, and the gradation between songs is masterful. Between each track there are small interludes that help to keep the music in motion, and not simply have one song finish and instantaneously another begins with a different style. For instance with "Slaves Of God", where operatic voices are used to slowly acquaint the listener with what’s to come. There’s no sudden change in direction, but instead there is allocated time that allows the listener to adjust to the coming song and not simply be bombarded with it. This aspect of the overall composition of "Dictator – A Monument Of Glory" is especially impressive and it shows good planning and that a lot of graft was put into the making of the album. A third key factor of Ad Hominem’s music here is the drumming, which is near enough amazing. Ad Hominem’s competence with the drums is shown as they always manage to ensure that the drums are used in the most appropriate ways possible. A good example of this is in "Total Völkermord", where the drums gradually increase in pace along with the guitars to help bring in the onslaught of fierce pace that follows, so as mentioned before the listener is never simply left dazed by insane tempos at the start of a song, but rather is gradually lead through a system of controlled crescendos that are always relevant and fitting. Alongside the drums, Kaiser’s vocals help to put forth and build on the ever-growing power of the music. The strength of the vocals helps to develop the ferocity that’s released through the songs. The best example would be with the track "Zog Is Dead", where the vocals drive the music forward and dictate the music. Chants and shouts are also utilised in some of the tracks such as in "Total Völkermord", with the track opening with what can be compared to a war cry when you look at the energy displayed through it. The vocals are, like the drums, used in such a way that means they’re not excessive but rather equilibrium is established and stuck to, meaning that everything seems to fit together like a jigsaw. The guitars in "Dictator – A Monument Of Glory" also help to enforce the atmosphere that the music creates. If I were to make a comparison then Marduk would be the one that would seem most similar in terms of the speed of the guitar, most particularly the "Plague Angel" album. It is undeniable that the guitars control a huge portion of the music; acting as a catalyst to gather together all musical qualities of the album and making them all gel together successfully. Looking at this album as a whole I think it’d be fair to say what Ad Hominem have created is a, arguably near flawless album that demonstrates how Black Metal should be played. The core elements of what the genre is defined with are present and are harnessed, meaning that the existing scaffold is expanded upon. What is absolutely key is the fluidity of the music so it all fits together as an album, and this is successfully achieved in "Dictator – A Monument Of Glory". I will certainly come away from this album with a smile, thinking to myself that these guys really know what they’re doing and how to execute music in an appropriate manner. I would highly recommend this to those that want to listen to how Black Metal should be played; with brutal vocals, fast guitars and some great drumming that all fits together and produces an album with numerous impressive qualities.

Genre: Totalitarian Industrial Black Metal
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Ad Hominem - Climax Of Hatred (2005)

2009-12-07T23:39:00.000+03:00

Fuck! I've never heard of Ad Hominem before. I read some smashing reviews in Danish magazines and thought to give it a try. What a decision!
The sound:
Ad Hominem plays some of the most aggressive and fast black metal I've heard in a long time. Within the hateful sound, you find elements of catchy riffs and raw, ugly and dirty atmosphere, the style is industrial black metal, which makes it catchy yet terrorising. The sound could be compared a bit to Marduk's "Plague Angel" and Tsjuder's "Desert Northern Hell", but still Ad Hominem sounds like nothing else I've heard before.
The lyrics:
The vocals are distorted, hateful and 100% insane! (Reminds a little bit of Abbath's (Immortal) vocal on the intro to Blizzard Beasts). The hate and disgust for mankind and human life couldn't be more intense. The lyrics are all so hateful that they exterminate every proof of life, leaving nothing but pulverizing hate and life turned into dust. Some might say that Ad Hominem's lyrics are a directly attack on Jews, because they (or he) plays NSBM, but through the entire album, it is never mentioned directly; sure there is references to misanthropy, but it is directed to all of mankind.
I can't even pick out a favourite track, because they are all great individually. If I should try to pick out a few, then it may be the title song Climax of Hatred, As I Long For and My Loudest Scream of Hate.
All in all:
Ad Hominem is within no doubt the biggest enemy of mankind. The extreme and intense disgust is so strong and the music so damn great. You almost find yourself marching to your cd-player putting "Climax of Hatred" on repeat again and again. Do yourself a favour and listen to this masterpiece of an album at least once!
100/100

Genre: Totalitarian Industrial Black Metal
Quality: mp3@CBR320 kbps (CD-Rip, Lame 3.93)
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