I’ve spent, in retrospect, perhaps a little bit too much time in my life waxing poetic about Aborted. I’ve rambled about their latest full length, TerrorVision, at pretty much every opportunity afforded. It’s safe to say I have a deep love for this band--but yet, there is no single album in their discography that I consider a god-tier achievement. Rather, each subsequent effort they release stands as an accomplishment as a piece in a larger puzzle: Aborted’s nigh-untouchable legacy. They have, as far as I’m concerned, never released a dud, despite a stupidly complex rotating cast of characters. Marked consistency is the name of the game, and on La Grande Mascarade, their latest three-track EP, these revered pros deliver another satisfying slab of desecrated death metal meat.
Given the wide display of personal taste we've curated amongst our cabal of scribes, it's not often that the Sleeping Village as an entity is collectively all a-buzz about the same album. But Ulcerate's high-quality track record is, in many ways, a great unifier. Thusfar, their career has been a remarkably blemish-free endeavor. Moreover, their continued reinvention of extreme metal motifs has led to some of the best examples of genre-melding madness the metal community has had the joy of witnessing. It seems, frankly, that they can do no wrong, and--spoiler alert--Stare Into Death And Be Still only further cements their status as legends. Equal parts technically adept and emotionally bombastic, this album is going to be seeing the light at the end of the tunnel on quite a few year end lists. Mark my words.
To assess Ulcerate's latest offering, two Village-dwellers--Izzy and Loveloth-- took up the pen to express their views, making for a rare double review 'round these parts. Without further ado, I'll let them do the talking.
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.
Written by: Scorpi
Diving headfirst into Bandcamp’s metal releases often goes one of two ways. You either spend ages looking for something worthy of your undivided attention, a task that feels like crawling through mud to find an elusive treasure, or you absolutely nail the first album you pick.
In Arcaine’s case, they were the immediate jackpot. No spinning reels endlessly losing all your cold, hard cash to find this one.
Arcaine are an emerging deathcore quintet from Chur, Switzerland, founded in 2015. They are made up of vocalist Adrian Gisler, guitarists Brandon Wildhaber (lead) and Renato Herzog (rhythm), bassist Rinaldo Gaudenz, and drummer Reto Camenisch. As Life Decays is their debut album, and they couldn’t have given themselves a much better platform to become one of the best modern metal bands out there.
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.
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.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!