 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!"
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 Written by: The Voiceless Apparition
Hello everyone! So we are finally in the homestretch of 2020. This has been an absolutely insane year, no denying that. Even with all of the struggle and division, we still had new music to get us through it. Let's just hope that next year will be better. Having said that, it's time for Album of the Year lists, and I'm excited to see many of my reviewing friends lists. But for now, I suppose it's my time. This was a difficult list to order. There were SO many stellar albums, so many in fact that I've had to leave off of the list. First I will give my honorable mentions list. Then: onward to the Top 10! 
Written by: The Administrator
Over the past few years of reviewing death metal, I have perhaps come down a tad harshly on the stuff that seeks to venerate the old school rather than cast it away in pursuit of intentional evolution. Sheer worship, while often enjoyable, is seldom enough to keep this haggard scribe's interest outside of the immediate moment. But this year, the more progressive efforts--the stuff that seeks to kick down doors and replace the rustic-yet-utilitarian furnishings with avant-garde decor--just aren't hitting the spot. This has resulted in an odd craving for no-nonsense belligerence. In other words: pass the Lesions Of A Different Kind. Let's get bloody.  Written by: The Voiceless Apparition
Hello dear friends! It's sad to say but our time with this retrospective series has come to an end, for we are ending with Whiteworm Cathedral. (If you missed the first, second, third, fourth, and fifth review in the series, be sure to check 'em out! - Ed). This album marks another integral moment in Necrophagia's career. After a few delays and having to re-record the whole thing, we were gifted this beautiful album. There is no huge lineup change this time. Boris Randall would end up leaving and was replaced by guitarists Scrimm and Abigail Lee Nero, and Killjoy is also reunited with former keyboardist Mirai Kawashima. Both guitarists are an absolutely stellar addition to Necrophagia, as you will soon read below. So, without further ado I will now leave you with Whiteworm Cathedral...  Written by: The Voiceless Apparition
Well hello again, friends! (If you missed the first, second, third, and fourth review in the series, be sure to check 'em out! - Ed). Today's review is the unearthing of Deathtrip 69. By this point, Necrophagia had a solid roster and was finally able to record this album. The lineup for this album is Boris Randall on guitar, Damien Matthews on bass, and Shawn Slusarek, with Killjoy leading the charge. "Naturan Demonto" starts out like how all Necrophagia albums start out: with an ass-kicking so viscous. It's evident from the start that this album is a lot rawer and more blunt and straight-to-the point. "Beast With Feral Claws" is a groovy monster--the main riff to this song is just so headbanging and infectious. That said, "Tomb With a View" is where the album really starts to take off. I absolutely love the atmosphere of this song, it's macabre, and quite catchy too.  Written by: The Voiceless Apparition
So with that, we return again! (If you missed the first, second, and third review in the series, be sure to check 'em out! - Ed). Today's installment in the series is Harvest Ritual. This is the same exact lineup as the previous album. After a lot touring and a sick EP, Harvest Ritual was born. "Dead Skin Slave" begins the album with a swift banger. It is always important to start an album on a strong note, and this album does so with aplomb. This is a fast-paced thrasher from the get-go until the 2:30 mark, when you are gobsmacked by the nastiest, hardest riff ever. It's not a "breakdown" per se, but it has the characteristics of one, and it is glorious. Things start to take a different turn on "Unearthed" and "Cadavera X." Keyboards were present in previous Necrophagia albums, but they have more of a presence on this album. Weird psychedelic, spacey keys and synths hook you in and really add a cinematic flair to the sound. 
Written by: Blackie Skulless
Earlier this year, I touched on Thirsty Demon’s debut demo from 2019 titled Waning Death, which was a pretty exceptional taste of death/thrash that fits the Chilean scene. This year, they’ve brought forth a full-length record, something I’ve been anticipating for a bit. Titled Unconscious Suicide, this one mostly does away with the thrash influences and focuses on death metal crisp. To go along with that, the songwriting itself is tightened up regarding clarity in guitar leads, and overall it’s less chaotic in delivery. Pretty normal moving from the demo stage, but all three of the main tracks from the demo made it here (hold the interlude track). “Sadistic Desire,” “Waning Death,” and “With Them You Will Rot” blend in very well, and the grueling touch to the vocals and a different production significantly boost this. If there are any real signs of the thrash roots showing, they’re gonna peak out here.  Written by: The Voiceless Apparition
Hello once again! The next album in Necrophagia's stellar discography is The Divine Art of Torture. (If you missed the first and second review in the series, be sure to check 'em out! - Ed). After the previous lineup broke up, Killjoy would recruit the help of guitarists and brothers Frediablo and Fug, former Immortal bassist Iscariah, drummer Tita Tani, and keyboardist extraordinaire and Sigh's genius mastermind Mirai Kawashima. This lineup would end up being the most active in the studio, releasing two albums and an EP all within the span of three or four years. But it all starts with this album. One thing that's noticeable from the get-go is that the new guitarist's styles are a little bit more refined. More melody, more technicality, but still keeping true with that Necrophagia sound. "Blaspheme the Body" starts the album out on a more brutal note with blackened sinister riffs, thrashy drums, and the voice of KIlljoy. "Upon Frayed Lips of Silence," however, is the first highlight on the album. This decrepit, groovy number instills that sense of catchiness for which Necrophagia was always known. This song is pure filth, the riffs ooze with decay. Though this isn't the most keyboard-centered Necrophagia release, this is the album that begins the process of adding more keyboards and synths to their sound. The subtle and spacey synths of Mirai Kawashima act as a juxtaposition to the rotting hymns of the band itself, which I give major praise to.  Written by: The Voiceless Apparition
So here we are again! I'm just gonna get straight into it. Holocausto de la Morte is the second album (not counting the bootleg release of what was supposed to be their first album) from Necrophagia. Notably, a lot had changed for Necrophagia since Season of the Dead. For one, the band broke up in early 1987, in which Killjoy subsequently began a few other projects including his solo band Killjoy and the ever-underrated (and previously reviewed by your's truly) Cabal. After Cabal broke up, Killjoy retired from the music industry to focus on taking care of his family, but in 1998 something changed. Killjoy was approached by none other than Philip H. Anselmo of Pantera fame. Philip and Killjoy had been in contact since the 1980's and Phil always showed his appreciation for Necrophagia. So, to my knowlege, the story goes that Phil asked Killjoy if he'd reform Necrophagia...and he originally declined, But, due to the persistence of Phil, he gave in, under the condition that Phil write the sickest, most horrific, and deranged horror metal album of all time. Within a month or two Phil came back with this entire album written. Killjoy was so impressed that he agreed and thus the reformation of the greatest band of all time came to be, and therefore Holocausto de la Morte was vomited forth from the gaping womb of extreme metal.  Written by: The Voiceless Apparition
Welcome to my Necrophagia discography retrospective series, where I will be reviewing all six Necrophagia albums in order (EP's and comps may be reviewed at a later date). The reason why I decided to do this is because Necrophagia are my favorite band of all time, and I feel it's necessary to spread the gospel of filth to the unacquainted. Necrophagia were one of the first ever death metal bands, but yet not a lot of people know that. With that in mind, I'll just get right into it. A great album should always begin with the mood, and here the mood is set with "Season of the Dead/Forbidden Pleasure. A creepy acoustic guitar passage begins this album, and really adds so much atmosphere. After the guitars fade we are greeted with a horrifying mix of ghastly choir vocals and ritualistic ambiance before everything explodes into atmospheric riffs and the (always recognizable) voice of Killjoy. "Bleeding Torment" is a brutal onslaught double bass devastation and catchy riffs for days. I love the little tricks that Necrophagia employs, especially the dropout of all of the instruments for the drums to have their time to shine. |
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We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
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