Written by: Blackie Skulless
Our next death metal cut from Memento Mori’s Bar & Grill is a Canadian dish called Altered Dead. Returning to life for their sophomore effort Return To Life, these lads bring a pretty brief offering that resides on the chaotic side. Though I wouldn’t really call this a full-on technical disc, there’s definitely a lot crammed into a small space. Thirty minutes of grueling, otherworldly riffing and a Celtic Frost cover pass by before you know it. If the album cover doesn’t give this away immediately, there’s a running theme of space and science passed through a slimy and grimy pattern for an optimal decaying experience. As guttural as the vocals are, they get somewhat stomped into the lunar surface, giving the guitars the main focal point. Occasional tastes of hardcore chugging can come through, honing in wavier tones during the slower riffs, and vibrant reverberations during the faster ones. It can get overwhelming at times, particularly when the drums blast away over-top this. But I won’t pretend it isn’t impressive.
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Written by: Blackie Skulless
Coming from the cooler lands of Minnesota is a fresh project of thrash and death proportions known as Begravement. Considering how young these kids are, they definitely have an ear for abrasive fronts and classic tactics, managing to get out a demo-quality EP early this year known, in turn, as Conjuring The Necromancer. Notably, there’re also some slight hints at progressive-leaning writing. With all of that in mind, it is obviously pretty rookie. This is nearly a half hour of extremely unhinged layering at depths that are sometimes difficult to measure. By that I mean it’s a bit uneven in spots between bass and lead/rhythm precedence. On the bright side, the hooks are plenty sharp, such as the simpler rhythms in the title track, as well as its bridge. “Opaque Malevolence” is also a more straightforward one that was stronger in this regard, emulating thrashy passages that make up the better parts of this disc. Interview with the band in question to follow shortly! Stay tuned, dear readers. -Ed.  Written by: The Voiceless Apparition
So here we are. Another year, another opportunity to spotlight up-and-coming bands. 2021 is going to be an extremely busy year for myself, and for all of the other villagers too, I presume. 2020 may have fucked everything up, but this year will be bringing A LOT of new music. But we'll get to that another time. Today, I'm really happy to be able to review the debut album from Texas death metal heavyweights Frozen Soul. It's amazing how far they have come for literally only forming two years ago. They released their critically acclaimed debut demo Encased in Ice through the always stellar Maggot Stomp back in 2018. They toured the U.S. a few times in 2019, and while 2020 may have put a stop to their touring, they managed to sign to fucking Century Media Records! When I heard that they had signed with them I actually screamed. It makes me so happy to see the love and support that they have been receiving since they formed and that praise only continues to grow with the release of their debut album Crypt of Ice. 
Written by: Blackie Skulless
Anthropophagy: (noun) the eating of human flesh by human beings. So in other words, I’m reviewing an album that’s just a fancy word for cannibalism. It should come as no surprise that Sadistic Drive are a death metal band that explore the gore and stench to extreme levels. Hailing from Finland, they’re quite fresh off the grid, taking formation in 2018, and dropping Anthropophagy last year. Just from that and looking at the sleeve, you’ll get exactly what you’re thinking. Chaotic blasting with slamming features and guttural growls take a heavy precedence, filling the proverbial chalice with nothing but slime and grime. An obvious love of horror fills the cracks, as bodily sounds, screams, and samples ooze over to blend some songs together. But surprisingly, the riffing is pretty concise and doesn’t sound as sloppy as it could.  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!"  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. |
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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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