To be frank, I approached Four Dimensional Flesh with immense trepidation. Brutal death metal and/or slam aren’t exactly locales I find myself frequenting with any kind of regularity--if I pass through, it’s usually a lone track in the midst of an otherwise innocuous playlist. While the dedication to slammin’ riffs and woodpecker-on-a-hot-tin-roof percussive fills are certainly attractive bedfellows, the trademark drainpipe gutturals and resonance chamber bree-brees really ain’t this scribes cup o’ vox.
And yet here we are, plumbing the gurgling pipes with a grim sense of glee. Why? Because Afterbirth, much like Wormhole, strives to make slam interesting. And it is this quality that remains Four Dimensional Flesh’s greatest strength amongst strengths.
Written by: The Voiceless Apparition
This goes without saying, but I'd imagine that you, the reader, love extreme music. But extremity is a subjective topic, it could be born of a vocal style, a style of instrumentation--perhaps lyrics as well. But there are many other ways to explore and express extremity. That leads us to the review in hand.
Feed Them Death is an extreme metal project blurring the lines of audial savagery: grindcore, death metal, black metal, doom, noise, and ambient. This project has been releasing a substantial amount of material in such a short amount of time with there being only a one year gap in between the debut album and previous album Panopticism: Belong/Be Lost. In 2021 the musician known as Void returns with his latest album Negative.
Written by: Blackie Skulless
Our next death metal cut from Memento Mori’s Bar & Grill is a Canadian dish called Altered Dead. Returning to life for their sophomore effort Return To Life, these lads bring a pretty brief offering that resides on the chaotic side. Though I wouldn’t really call this a full-on technical disc, there’s definitely a lot crammed into a small space. Thirty minutes of grueling, otherworldly riffing and a Celtic Frost cover pass by before you know it.
If the album cover doesn’t give this away immediately, there’s a running theme of space and science passed through a slimy and grimy pattern for an optimal decaying experience. As guttural as the vocals are, they get somewhat stomped into the lunar surface, giving the guitars the main focal point. Occasional tastes of hardcore chugging can come through, honing in wavier tones during the slower riffs, and vibrant reverberations during the faster ones. It can get overwhelming at times, particularly when the drums blast away over-top this. But I won’t pretend it isn’t impressive.
Written by: Izzy
Cut from the same cloth as many similar Obscura-worshipping avant-garde technical death metal outfits, Ad Nauseam got a fair bit of attention for their debut release, Nihil Quam Vacuitas Ordinatum Est, an album I personally enjoyed. It was filled with complex, angular and abrasive melodies mixed with a subtle sense for melody, but I felt it wasn’t as good as it could’ve been and was more indicative of where the band could go. Its not a new or original idea to make dissonant skronky tech metal inspired by classical compositions, and I felt Nihil Quam was held back by falling into many of the microgenres cliches, thereby not doing enough to really make themselves stand out amongst the crowd.
Written by: The Administrator
In lieu of the typical rambling introduction, I'll spare you all and jump straight to my conclusions regarding Nostophobia, the debut full length from Portland's Sea Sleeper. In sum, then: this is a wonderfully chaotic album filled to the brim with the kind of untethered energy that practically demands listener engagement. However, it is also a confusingly chaotic album that would benefit significantly from some spit and polish.
Sea Sleeper bill themselves as a bit of a genre-jumping anomaly, frequently folding in elements of post-metal, deathcore, sludge, avant-garde, metallic hardcore, and even a lil' angsty grunge into their bubbling cauldron o' progressive death. Needless to say, this is a complex conglomerate of sights 'n' sounds, and makes for an experience that is borderline confounding across the breadth. As a fan of boundary-pushing and rule-breaking in music as a general rule, that quality is a clarion call of sorts--provided the intrinsic weirdness sticks the landing.
Let it be know: Sleeping Village stalwart Izzy doesn't skimp when it comes to year end lists. As such, we'll be publishing, over the course of the next few days, a series of genre-specific Top 20 lists proudly bearing the Izzy stamp of approval. As "death" in and of itself tends to be a broad descriptor the assorted sub-genres existing under the umbrella have been labeled for yer convenience.
Says Izzy in regards to this list: "A summary of 2020's death metal to me is "everyone else liked it but I don't get it", very few of the years most popular releases clicked with me, so while I don't think any of my picks here are controversial, I think there is more underground-ish releases. Enjoy!"
Here's a republication of an old guest post. Enjoy! - Ed.
Written by: The Administrator
How best to describe Wormhole? If you're familiar with 'em, you know what I'm talking about. If you aren't, here's my best attempt: The Weakest Among Us is like unto a janitors' big ol' ring of keys, wherein every jangly item represents a markedly distinct genre. Which is to say, there is a lot going on here. Wormhole don't have a denying characteristic of their own, except for the ability to chameleon their way through both slam and tech-death landscapes--which, frankly, don't have a whole lot in common. Whilst one is an intricately designed garden, the other is a pile of craggy boulders. Do they mesh? After listening to this thing like 10 times, I'm still not entirely convinced...but Wormhole certainly put in the work.
We covered this album during last week's edition of Fresh Meat Friday...but Pyrrhon is far too significant of a band to gloss over with such egregious brevity. As such, our very own gibbously non-euclidean amalgamation--aka Loveloth the Omniscient--took the reins. Hence: enjoy this expanded review! - Ed.
Written by: Loveloth
Three years ago, a more impressionable, less jaded Loveloth scoured the plains of the Interwebz in search of new, exciting music. One faithful day, I was doing the usual, which translated to me religiously reading Angry Metal Guy. Anyhow, here I am scrolling through and chillin' until I see this insane album cover. It features a mangled dog snarling, whose paw got stuck in a rusty iron trap. The beast has multiple wounds and is clearly malnourished. The surrounding area looks nice though as it's filled with leaves, but the dog and washed out color palette evokes a feeling of discomfort. Needless to say, my interest was piqued and one quick glance later I see the title. Pyrrhon, What Passes For Survival. The two r's in the band name were weird, sure, but I was not prepared what was to come.
You see, there is this guy named Kronos who writes for AMG, and he is known for his hot takes and penchant for the most extreme forms of metal. What I absolutely love about his style, apart from his vast vocabulary and superb phrasing, is how convincing his points always were. Sure, I would disagree with him, but his hot takes never felt cheap and that is pretty rare these days. But now: back to the epic, overlong intro.
Written by: The Voiceless Apparition
20 Buck Spin is killing it lately. They continually release engaging albums that are a joy to listen to. I have to be honest and say that I was not privy to Ulthar before I received this promo, but because of the sheer pedigree of releases 20BS has, I knew I had to give this a chance. Providence is their second studio album and comes a year a half after their previous opus/debut album Cosmovore. I was not prepared for what horrors would await me upon clicking on the link, but as always, I kept an open mind. Here is my experience.
If there are two words to describe this album, they would be "horrifying" and "other-worldly." Atmosphere is crucial to the vibe of this album, but not in a soothing way--moreso in a "visionary" way. Each song transports you into a world outside of our own, a world of twisted and deformed creatures with a lust for carnage. Each planet seemingly more viscous and unrelenting than the one before. But enough of that, let's talk about the music. As soon as you click play, you are absolutely decimated by "Churn." This mighty opener is a viscous and brutal attack of the senses. Jagged riffs and dissonant melodies saw through battering blast-beats with such precision and malicious force.
Written by: Volt Thrower
Hailing from Milan, Italy, is the lone and sole cosmic black death metal unit Cosmic Putrefaction. The mysteriously monikered G.G. is back to provide all vocals and instruments on the second full length release for this project, The Horizons Towards Which Splendour Withers, on I, Voidhanger Records, out May 22nd. There has been some considerable hype surrounding this album in the metal twittersphere, and it absolutely crushes expectations. I feel truly blessed to have been given a sneak peek at an album sure to crack many end of year lists. So far it has been a brutal blackhole of a year, but the metal releases have been solid and consistent, somehow managing to escape the devastation of the shitty supernova known as 2020. Cosmic Putrefaction manages to put their name straight to top of the list with this scathing, six song symphony of destruction.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!