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.
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 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. 
Written by: Blackie Skulless
Wow, another one from Dark Descent Records that grabs me to this degree? Last year, around the finish of the year, they gave us Oath Of Cruelty, which was some solid Morbid Angel worship. Enter Chile’s Invincible Force. They grow from a harsher thrash soil that seems to be bigger in their country. However, the sophomore album Decomposed Sacramentum sprouts branches aligning with OSDM, coating the aforementioned Morbid Angel vocals over Deicide-oriented riffs. From front to back, Decomposed Sacramentum loses almost no momentum, maintaining speed and abrasiveness throughout its entire runtime. Not a single track breaks the four-minute mark, allowing little room for play anyway. Literally, the only track that slows things down is the title track at the beginning and end. The majority is flattened, simplistic riffing with mean barking vocals overtop, causing a chorus that absolutely rules. It would have worked as a strong closer due to its exit strategy, so it’s a shame that “Hopeless Mortality” wasn’t dropped before it, rather than after. 
Written by: The Voiceless Apparition
Mortality: the state of being subject to death. A word us humans are all accustomed to, a fact of life that we accept is inescapable. No wonder why death metal bands and artists talk in such detail about it. While other artists outside of the heavy music scene tend to write about things that are more positive and universal, we tend to focus on the darker side. It's a cathartic release, and it helps us cope with the certainty of dying. Necrot's newest album Mortal may seem like a simple title, but it's much more heavy than just surface-level definitions. This is the Califorinia death metal trio's second album, and it is much anticipated by all, myself included. So with all of this hype and anticipation, does Necrot deliver? We shall see... 
Written by: The Voiceless Apparition
Ah, Incantation. For over 30 years these gentlemen have been crafting some of the most malicious, twisted, and downright crushing death metal there is. It's unfortunate that, while they do have the legendary status, they do not get enough credit for what they have done for the scene. Death metal doesn't have to be one-note, and they prove that. So even after twelve albums, one would think a band would simmer down and start to lose their energy and bite. Incantation, however, does the complete opposite, and continues to push their abyss-consuming death metal bludgeoning on their latest studio album. Enter the Sect of Vile Divinities. "Ritual Impurity (Seven of the Sky is One)" wastes no time with interludes and immediately bludgeons you. The trademark twisted Incantation melodies are there, and it's just a brutal onslaught. The perfect way to open the album. Followup "Propitiation" showcases the band's doomier side. The riffs are a blackened vortex of malice. The melodies are fucking frightening, and the riffs are devastating. I wouldn't expect anything less from them. 
Written by: Blackie Skulless
When something goes by the name Bear Mace and has “bears” as one of their lyrical themes, you have to assume it’s gonna be pretty silly. But that wasn’t quite the case, and the band in question's upcoming second album Charred Field Of Slaughter actually stays rather focused and hones in on general bloodshed. They’re a death metal act that hails from Chicago, Illinois, but sound like they could spawn from the charred field of Tampa, Florida. Though things are a bit cleaner than what most of the OSDM pioneers laid down, the meaner buzz adds a chaotic shake. Horrid vocal work taking the gutturals to filthy limits with a slight echo is properly placed atop, caking on small hints of comprehensibility. The only complaint there is the fact that they can feel too “belch”-like at times. That aside though, this reeks of obvious influence from early Death, particularly the Spiritual Healing album. The progression in “Xenomorphic Conquest,” as well as the chorus, sound exactly like the title track from the famous Death record. The high-frequency wails only add more to it. Sometimes, this particular scribe finds it useful to glance backward and spend some quality time with an album defined by good memories, high spirits, and the sweet taste of familiarity. In that spirit, we post a lot of brief retrospective reviews over on our Instagram, but said pieces seldom make their way here to graze in greener pastures. Here are eight brief write-ups of death metal albums that we have revisited over the past few months--a veritable death metal menagerie. Enjoy! - Ed.  GOJIRA - From Mars to Sirius (2007) There are few albums that remain so influential in my indoctrination into the chrvch of riff-centric music. Mastodon's essential Remission, perhaps, tops the heap, but Gojira's multiple efforts cycle through rotation on a remarkably consistent basis. From Mars to Sirius is a monstrosity of an album, demonstrating the heaviest of riffs within the confines of a striped-bare (yet progressive) mentality. Here, Gojira's trademark conceptual and thematic underpinnings are on full display--not preachy, but immediate. And never have whale sounds sounded so utterly massive. In short? If you've missed this album in favor of their more popular releases...you should probably get on that.  HOODED MENACE - Ossuarium Silhouettes Unhallowed (2018)
Although this was released early on, no other album impressed me in 2018 with such a finely-tuned ability to straddle the line between death’s crushing riffage and funeral doom’s dismal gloom. Harrowing and heavy, the layers of grotesque yet melodically lofty leads form a near-tangible environment for these Hooded Menaces to dwell. Despite these leanings,“cavernous" remains an apt description for the atmosphere. I mean, just look at that album cover. Precision and restraint in the percussive department-- and a killer vocal tone--further delineate Ossuarium Silhouettes Unhallowed as a masterful album, easily their best (and most ominous) to date. 
Given the multitude of new releases that, on a daily basis, traipse through the eel-infested waters of the Sleeping Village’s moat, only to hurtle themselves headlong into the unfathomable depths of the promo pit, my views on listening for enjoyment have changed significantly over the past few years. I used to meticulously hunt down albums that would, through mass repetition, become lifelong favorites. That was the ultimate goal: find music that neared perfection, in my narrow and subjective gaze. However, I am now quite content to spend time in the enjoyment of music that I know will satiate me for a few days before it is time, once more, to move on. If I happen to return to it later on? Great. If not? That’s fine too--sometimes music can be good without providing significant staying power.
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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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