Guest Post: Carcassbomb (of Noob Heavy)
Experimentation is my magic word… and my safe word. It’s an approach that can really go anywhere, including some dumb places, but Rat King challenge song writing conventions in a far more subtle way that makes for an interesting listen without alienating fans of experimented genre in anyway. Previously with their 2016 debut LP Garbage Island they had a similarly experimental take on sludge so it’s interesting to see they have taken their approach into the realm of death/grind, a completely different arena. Here’s the thing though, they fucking pulled it off and in my opinion this release is both a better album and a better representation of their signature craft. There’s been an evolution here that I respect and admire. Vicious Inhumanity will be released Jan 17th via their very own label Within The Mind Records, CD, Vinyl and cassette, so dig in mother fuckers. They’re also giving away CDs to two lucky people, entries close on release day so there’s time.
If medical waste is unceremoniously disposed, as I like to imagine, in a dumpster out back behind the hospital, San Jose's Aseptic is the resulting viscera stew that oozes from bio-hazard bags and pools in the bottom. Not sure what I mean? Just imbibe in the sluicing juices and slimy riffage of Cascading Fluids' "Intro." If you're still having trouble painting said picture--and god help you if that's the case--it may help to take note of the irrefutable fact that this EP legitimately sounds like it was recorded in a dumpster.
Hyperbole aside, this is good stuff. If you happen to be familiar with Aseptic’s stellar Senses Decay EP, just know that this is an entirely different kind of beast. Same killer riffs, but the aesthetic is stripped to the goddamn bone.
If necessity is the mother of invention, nostalgia is the mother of stagnation. And, like pond scum in a scummy pond, the revitalization of old school death metal--with the Portland scene being a particularly prolific example--revels in nostalgia. Normally a bad thing, sure. But in the case of OSDM, the best and the brightest revel (righteously so) in the worship of legacy genre motifs. And, unlike many genres under the sun, I would argue that these backward-looking outfits--bands that don’t strive to make strides--can indeed be responsible for some of the most unabashedly fun heavy music available. Enter Coffin Rot, with their debut album in tow.
I was first impressed by these guys when they first put out an EP with a gnarly logo and gnarlier riffs. Then they dropped a split EP with fellow OSDMites Molder, and I was sold, fully and completely. In my review of the latter, I stated these “Oregonian underground plague merchants display an instant maturity...as they dig up bodies with a steam shovel.” Here, I’m pleased to report that A Monument to the Dead is more of the same--if you were to take the same, that is, and crank it up about, erm, 11 notches. Any and all ample promise these corpse-lickers displayed last year is amplified tenfold here. The result? Easily the best straight OSDM worship released in 2019, in this particular scribes’ inflated opinion.
There were a great deal of albums I should have reviewed last year, but simply never got around to. A significant number of these lost reviews were booted aside in favor of year-end-list festivities, so now that those are largely accounted for and we have a few weeks before the promo pit is overflowing with 2020 releases, it's time to exact a little justice and tell these bands how much I like 'em.
Thus, let's kick off my apology tour with a death metal band that deserves far more accolades than they have received: Mexico's CRS, who hath returned from self-exile to deliver their sophomore album after a Very Long While. Legacy acts are tricky to review, particularly when A. the reviewer has no frame of reference for their previous work, and B. their previous work, such as it is, consists entirely of a debut album released 20 years ago.
Written by: Cantina
Several things could be said about Bölzer, but beyond any possible connotation, this fascinating swiss duo surely doesn't pander to the herd of formulaic blackened death metal outputs. Furthermore, the artistic relationship between KzR and HzR, the masterminds between this band, seem to be tighter than ever. It's already been three years since the release of their divisive full-length debut "Hero," yet Bölzer have proven yet again to be ready to destroy any opposition by exhuming their most beloved musical format: the EP. Longtime fans may have different perspectives in regards of this, but the band is currently showing NO intention of drifting away from their unconventional yet resolute path. Their unique brand of black/death metal seems to have grown into its fullest form--and with a certain ease, I must add.
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.