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
We as human beings have to struggle. We all have our issues and faults, but it takes pure bravery to pour yourself into your music and lyrics. That's where Benighted in Sodom comes in. Matron Thorn (Reuben Christopher Jordan) is an enigma and a dime-a-dozen musician. Since 2006, Benzo (as he abbreviates it) has been the vessel for Thorn to release the pain and tragedy of his life in a healthy and therapeutic way. So in 2019, after a few years of no studio output, he returned with two new albums, and Carrier of Poison Apples is the most recent. Described by the man himself as his life story, Carrier of Poison Apples could be seen as his most personal album to date. As for the content of the music, let's find out!
Well, here we are. The belly of the riff-lovin' extraterrestrial beast. You'll inevitably be subjected to a veritable cosmic load of Blood Incantation hype in the weeks to come prior to Hidden History of the Human Race's November 22nd release, so I'll keep this intro brief.
Blood Incantation's meteoric rise to the upper echelon of underground death metal carried with it a burden of expectation. 2016's Starspawn hit the scene with an expansive roar, solidifying Blood Incantation's reputation as an outfit willing to inject a little intensity and exploration into their forward-thinking approach to atmospheric death metal. How do you follow up a flawed-but-remarkably-promising debut? In an ideal world, by removing said flaws from the picture, while simultaneously pushing onward and upward so as to avoid stagnation. No small order.
To assess Blood Incantation's latest offering, two Village-dwellers took up the pen, making for a rare double review 'round these parts (and quite possibly a triple, if I can get my doddering ass into gear). Without further ado, I'll let them do the talking.
Written by: Loveloth
Portal's monstrous shadow inspired many a band to push the boundaries of extreme music, and Basque's Altarage is one of many that follow the Aussies' sinister footsteps. Shrouded in anonymity, the three (formerly four) masked figures exploded on the scene with Nihl in 2016 and caused quite a ruckus. The band wasted no time and released Endinghent just a year and a half later, and here is where I found out about them. I found the record decent, basically a more accessible and stripped-down version of Portal, which is OK but not enough. Cue The Approaching Roar that was released last Friday. I have to say, my opinion on this band has changed. Let me explain.
While the Portal influence is undoubtedly here, The Approaching Roar is more or less (more on that later) its own beast. Vile dissonance, inhuman howls, spastic drumming and angular riffs are still all the rage but, unlike Endinghent, is overall a more memorable and diverse experience. Things start off hellishly great with "Sighting," where you are greeted by a few unpleasant guitar plucks before a wall of noise encircles you. It's swift, vicious, and overwhelming. The best course of action is to stop resisting and simply give in and let the band guide you through their carefully crafted and terrifying soundscapes. However, these alone do not make this record shine, it's firstly the fact Altarage decided to mix things up and I realized this with the arrival of "Urn". Its initial churns and bellows are more akin to Sunn O))) or early Earth, and not only does this change the pace but also continues the sonic onslaught. It also attacks you differently, and I feel that this was lacking in Endinghent.
Like the songwriting, the quality of the production also improved and is surely one of my highlights, as the record walks a very thin line between being disgustingly dense and murky, yet somehow crisp and clear enough for you to properly hear what's exactly happening. Funnily enough Portal did the same thing with ION last year but for my money, this sounds better. I mentioned songwriting and I have to commend the guys for doing an excellent job, although some parts like that outro in "Cyclopean Clash" linger for too long and some songs can be hard to distinguish from one another, but you can only do so much with this style of death metal and Altarage mostly succeed. As for the individual performances, I only have praise. The vocals are gnarly, guttural and perfectly complement the absolute chaos that are those angular and dirty riffs and astonishingly fast and precise drumming that will make fans of Deathspell Omega or Ulcerate very pleased.
Overall, The Approaching Roar is a seemingly infinite abyss that was carved by a band I now think of seriously. I am completely aware how many times I namedropped Portal but make no mistake, Altarage are carving their sound before our very eyes. Expect seeing this record popping up on some year-end death metal lists as its content, no matter how bleak and seemingly impenetrable, hides many treats for you to discover. You only need to be brave or insane enough to dive deep into the approaching roar of Altarage.
Altarage - The Approaching Roar was released Jan. 25th from Season of Mist Underground Activists
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.