Written by: The Voiceless Apparition
Wombbath is a band that is simultaneously revered and underrated. I suppose the reasoning for this is that they formed pretty late during the Swedish death metal boom (formed in 1990) but that shouldn't have been the case. I'm glad that they reformed a few years ago because the quality of the albums are still great and it introduces them to a new sect of death metal fans who weren't born when they formed (that includes me). Choirs of the Fallen, I am happy to say is their best album since reforming and it goes beyond where they were with the previous 2 albums but while still sounding like themselves.
Choirs of the Fallen kicks in immediately with "Fallen," and this is a stellar opener. Running the gamut of death metal, crust punk, and small flourishes of black metal, this track bleeds aggression, and, at the same time, sinister atmosphere. It's a truly eerie sounding track. Track #2, "Crawling from the Pits," begins with a short intro but quickly bursts into a firestorm of groove and break neck aggression. This is a very evil sounding song as malevolent guitar melodies provide the atmosphere to your worst nightmares.
I dunno about you fine folks, but most days, I just need a cup of coffee. Not, mind you, the world's finest cup of coffee; just a good ol' utilitarian cup of coffee. So long as it isn't burnt and it gives me the crank I need, I am happy to welcome it into my daily routine--and, in many cases, use it as an unfortunate crutch to ease me through the brainfoggy doldrums. I'll go out on a limb here and assume I'm not the only one. This unnecessarily extensive intro exists to establish the fact that, much like coffee, sometimes a patently normal death metal album is all it takes to keep me happy in my day-to-day. And that, dear readers, is what we have before us today, beguiling ye all with its gorgeous artwork and its death metal stoicism. Plague's Portraits of Mind is an aggressively solid piece of work, with all the right parts in all the right places.
Written by: The Voiceless Apparition
Death metal is a genre I love. I first heard "Shredded Humans" by Cannibal Corpse when I was 10 years old, and have been a fiend ever since. While I tend to be a person who likes when bands experiment and progress, I also can't deny that I love a really raw and old-school death metal release that wears its influences on its sleeves, and that's where Necropsy comes in. Finland is quite known for their influx of death metal bands (metal in general) but even Necropsy remains a name unknown to most. Though they have only released two albums as of now (mind you, they formed in 1987,) they do remain a cult name within underground death metal's bowels.
This EP immediately kicks in with "Meat Ceremony," one of the most uptempo songs on this release. Complements to the guitar work, as it is catchy as hell but also as simplistic and barbarian as you can get. The main riff to this song is drowning in hooks and memorability but without sacrificing brutality. While not the best song on this release, it makes so much sense for it to be the opener. Now we move on to the aptly-titled "Fucking Dead," and man oh man is this song fucking great. As soon as the song begins we are immediately greeted by one of the nastiest doom metal riffs I have heard in a while, this riff is absolutely devastatingly heavy. The whole song continues to build upon itself before going into another catchy riff that will be sure to be stuck in your head for days.
Written by: Slammey Stanley
Dwelling within the bowels of Maggot Stomp trucker-bros and old-school thrashers lies Technical Death Metal’s most tired and abused insult: it isn’t brutal. These folks could admit the talent behind a minor-7-diminished-13th-whatever-the-fuck arpeggio being played at 300 BPM, but where’s the core of the brutality? Where’s the connection to the very heart, gore, and soul of the genre? Despite their arguably bland position as a staple motif, there’s an undeniable power to caveman riffs that isn’t present in a flurry of notes, or at the least, not in the same regard. Looking past the subgenre itself, the majority of modern, cutting edge Death Metal is bound to contain some extent of Technical prowess; to deliberately avoid the technical element would be to shut oneself off to most of the genre. But what about a perfect conjunction of Brutal Death Metal and Technical Death Metal? Odious Mortem have proven it to be a possibility on their past two records, and with a thirteen-year gap between Synesthesia and Cryptic Implosion, one would think that the Tech-Death titans would only strengthen that bond. And so the question remains: do they?
Written by: Bane Ov Silence
The Artisan Era is a label that has put out some of the best tech death releases of the past three years. Bands such as Equipoise, Mordant Rapture, and Aethereus have established themselves as some of the most interesting and talented groups in extreme metal today. That is why I had very high expectations for this Warforged release, particularly since the band has been working on this record for the past five years.
Sadly, when the first single came out, "We’ve Been Here Before," I realized that the album was probably going to be a disappointment. While the song has its high points, particularly the solo that reminds me of something Inferi would have written for Path of Apotheosis, it is mostly disappointing and forgettable. The piano interlude halfway through the song was unnecessary and broke all the song’s momentum. Most bands on The Artisan Era have very clear production, where every note and drum hit can be easily heard, which is why I was surprised that Warforged opted for a much more disorganized and chaotic mix. While this works for many other bands, it ends up muddying Warforged’s sound, and hinders certain aspects of this record.
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.