Pastor of Muppets

Vallenfyre - A Fragile King (2011)

2011-11-30T13:24:00.001+00:00

Members of Paradise Lost, At the Gates and My Dying Bride come together on this release - a personal one for Greg Mackintosh as it's inspiration stems from his father's diagnosis and death from prostate cancer. In other words, we have a super-group coming together to release an album of mourning.

While such a bleak and personal subject matter isn't really out of keeping for members who have been pioneers of the doom scene, we have little here that can be described in any way as 'doom'. What this obviously, very intimate recording assaults us with is largely an old school, crusty death metal which harks back to the 'Swedish' sound - namely Wolverine Blues-era Entombed.

There are elements of a more doomy and at times gothic sound, yet these are rather minimal compared with what you might expect. The track Majesty Dethroned has a mid-section that could be on almost any early doom release - save for more modern production while some of the more less prevalent leads throughout the disc increase the doomy elements. However, this is not a doom release; it is undoubtedly and (thankfully) unashamedly death metal.

Perhaps less thankfully though is the fact that it does absolutely nothing original. It's something that you'll listen to a few times, love but then only ever put on as background music while you're having a beer. For the most part you'll be fine, but with tracks like The Grim Irony don't expect it all to be light-hearted.

The fact remains that what it does it does very well. I just wish there was something a little more there. Seriously, if I didn't know any better and someone threw this on, I'd be sat there desperately trying to figure out which Entombed album I was listening to and why it didn't sound that familiar. The overall sound is bang on and that's before we get to Mackintosh's vocals which are a dead ringer for a certain Mr Petrov.

I must admit though, I was expecting to hate this album: When I fist put it on, I listened to it through a pair of monitors and was disgusted by the guitar tone. It was just fucking horrible. Listening to it on a shitter stereo or a pair of headphones and it's a different story. Yes the guitars are buzzy and have that old-school middle-yet-buzzy thing going on, but it fits the music perfectly. And when it rips in to the higher octane leads . . . yes, this album fucking rocks.

The disappointment is that it's pretty much going to be instantly forgettable. It fails to have it's own personality, instead borrowing that of a band who've been among my favourites for years. Which, considering the subject matter, is pretty fucking odd.

Apparently this was never intended for general release. And I can pretty much see why. It's a shame that when the decision was made to actually put it out, a little more thought and a few flares or originality weren't injected into A Fragile King. Still; it's a solid album and if like me you like that sort've thing, you won't hate this. But I doubt you'll particularly remember it either.

Pseudo fans

2011-11-29T13:35:00.001+00:00

It may or may not shock you that I don't exclusively listen to death metal. I don't even solely listen to metal. The fact is, that's hardly a revelation to most. People who claim to appreciate music and confine themselves stubbornly to a single genre are not only cutting themselves off from a whole other sphere of musical experience, but they're either a) lying, or b) lying. [Where 'a' referring to their listening habits and 'b' to their degree of musical appreciation.] What's more; if you were 'shocked', you're probably one of the people I'm talking about.

This is metal? Are you sure? Bitches be trippin'!

The fact is death metal is an elitist genre. It's superior and snobbish and that's the way we like it. The more elitist it is the less chance of pale, watered-down imitations of it cropping up. No, I don't have my head in the sand and I'm fully aware of travesties like Arch Enemy or Mechanical God Creation. It's a sad fact that any art form is going to have it's own fresh crop of mediocre, simplified shite. My point is that it's relatively limited, despite the mediocrity of bands following the path of the above crop and their ilk, or even the flat-brimmed cap and low-slung trouser brigade of slamming wigger metalcore or whatever the fuck they dub it. Unfortunately, as with all elitist pursuits you get the obligatory sub-set of individuals with nothing other than appearing to be superior to their peers. Like newly wealthy social climbers who purposefully change their accents before launching into plumb-in-mouth tirades against 'low class' establishments they loved only a few short years before, these wannabe 'extreme' individuals wear the regalia of bands they've never heard of and eschew their nonsensical diatribes relating to music they don't own.

Yet we all know this. These are the little gobshites we deal with on a regular basis and the same retards who turn a scene into a scene. I just cannot comprehend the deficit mentality of someone who isn't 14 behaving in such an idiotic fashion as to claim knowledge in an area they have none.

As I said before, I listen to a lot of different music. At the moment my non-metal mainstay is jazz. As with death metal; I love the variation of the genre, it's adventurousness, it's pushing of boundaries, the fact that it can be at once chaotic, loud and heavy or laid back and relaxing. I love it's virtuosity.

So why, if I have this depth of feeling for jazz am I preaching only metal instead of penning a more overarching music site? Well, the answer is twofold: 1) My love of metal supersedes that of all other musical genres; and 2) As it stands today, I just don't know that much about jazz.

Freddie Hubbard

Granted, this is a situation that I will rectify and - who knows? Maybe I'll see some of you on the other side of the interwebs ranting on some little-read portal about how Jazzy McFucknuts has missed the point or how Weezin' Willie Browneye needs to develop propper breath control for his trumpet solos. Until that time, however, I'll do the sensible thing: shut up. Sit back and bathe in the words of those far more knowledgeable than I, soak up the knowledge and learn. Sure, I'll say if I disagree, but what I won't do is pontificate where it's clear that I don't know what it is I'm drivelling about.

Similar to those will-wear-the-shirt-but-don't-know-the-band types, are the equally vacuous Ignorant. Now the Ignorant, unlike the above mentioned Retarded, are not really arseholes. They're just presumptuous. They can't wrap their heads around the fact that there might actually be art forms out there that they're unfamiliar with. So when, during my other life, I was in the lift talking to one of the girls in the office and the subject of death metal came up and her response was 'ooh, I love that stuff' and upon questioning couldn't name a single band, I didn't slam her sow-like brain into the metal confines in which we were trapped; neither did I rape her face until the gibberish ceased to flow from it. Unfortunately, the work-place doesn't take kindly to such activities. No, I murmured some platitudes, stepped out of the lift and went in search of a coffee.

The difference between the Ignorant and the Retarded may be vast, but at their core, we have some kind of deep-seated drive to prove to everyone that they're well-informed. Admit defeat people! You're insipid attempts at appearing knowledgeable do more to highlight your incomprehension than any questioning attempts at actually trying to understand the subject matter ever could!

Monumental Torment - Element of Chaos (2011)

2011-11-28T13:32:00.001+00:00

Being a musician can sometimes be a hassle. As anyone who's ever picked up an instrument and ventured out of their bedroom to try their abilities together with that of other sonic disturbance engineers will know, one lethargic, insular bastard is bad enough but when you've got 4-5 bastards all operating on that level it can prove to be difficult on a level that even the world's greatest and most experienced cat herders would refuse to have anything to do with the entire situation. Point blank.

So Monumental Torment already get a ripple of applause from the various inhabitants of my cluttered cranium. With members in Russia and Arizona I find it daunting to comprehend the level of organisation these guys must have to make this project even vaguely workable. I find it even more daunting that they manage to make it work so well.

What these far-flung troubadours produce is some particularly technical, chaotic brutal death metal of a rarely surpassed quality. No quiet build-ups here, no slow intros; just a razor-blade bedecked bass-ball bat straight to the chops. Of which, incidentally, there are a fair few - along with slams and sweeps and so much widdly hammer-on/pull-off's that I can pretty much envisage the rosewood being eroded by the second.

And yet - as always - there is a downside: The most glaringly obvious one is the drums which, while on the slower sections are pretty convincing and overall very well-programmed, there are times that the speed, velocity and lack of any kind of organic feeling whatsoever detract from the piece as well as the overall experience. Challenging listeners is always good - not that I'm endorsing Lulu-esque serve-up-shit-and-say-that-it's-food, obviously - but making listeners actively have to force themselves back on track the way that certain sections of the drum programming on this do is just unnecessary. Programmed drums will always lack a certain amount of depth when compared to their organic counterparts - that's a given - but I can't help feeling that with a little more time spent on making some of the blasts a little less absurd would've made for a much more substantial and awe-inspiring listen.

We also run into one of the biggest problems of the genre once again: Namely a lack of diversity between tracks. On the whole, each slab of mind-fuckery on this release is well-composed and fully thought-through. At times, however, the sheer pace means that certain sections have a tendency to appear all too similar to sections on preceding tracks. Nevertheless, I wouldn't (as has been done elsewhere) compare this release to the likes of Brain Drill. We do actually have songs here and each one does stand alone. The lack of variation is a problem for the album and possibly caused by being locked into a strict tempo by drum programming, as opposed to a problem with individual tracks.

Yet there are some elements here that are truly unique: Nameless One features a piano not as intro, not as 'ambience' and not as some absurd, half-arsed attempt at having classical leanings but rather as a fully-fledged instrument - its playing both sitting beautifully alongside while striving for technical dominion over the guitars. For the rest of the album though, it rarely rears its head again - just a nod here and there which, to me, was a massive disappointment when it seemed to work so fucking well!

So a festival of technical ferocity is the order of the day, with riffs galore and slamming brutality together with flashes of total originality. I'd be surprised if any fan of technical death metal wouldn't enjoy this album. Just be prepared to have something a little more organic and a little more laid back queued on your playlist for afters. Maybe that and an ice-pack.

Retrospective: Akercocke - Chronzon

2011-11-24T14:28:00.001+00:00

I'm not entirely sure why it took me so long to fully appreciate the mastery of Akercocke. Years ago I picked up the Goat of Mendes album and I loved it - yet, for some inexplicable reason I drifted away from the band. That's not to say that I forgot about Goat... however: Bored by the gigabytes of new and old downloads and returning to my CD collection in search for something inspirational, I'd come back to it every so often and, in the last six months or so, with increasing frequency.

Sooner or later though, even the best material wears a little thin and you're compelled to seek out more. In an attempt to rekindle my old love of black metal, I ventured forth to the CD shelves and found most of what was on offer ultimately uninspiring. What can I say - I was searching for that particular brand of gentlemanly satanic brutality that only Akercocke could satiate.

Suffice to say their back-catalogue was procured forthwith and while each disc is fantastic in it's own ~~rite~~ right, Chronzon not only deserves a special mention but is a true masterpiece.

All the elements from the oh-so-familiar Goat... are again to be found here - the riff-heavy compositions of blackened death-metal, the sexual lyricism dripping in satanic juices, the sensual yet occultish aesthetic; they're all here once again. Far more importantly though, are the musical diversities that create that signature sound which are so much more prevalent than on previous releases. It's easy enough to spot the increased yet intelligent usage of clean vocals that actually add to the atmosphere of a track. The more obvious incorporation of synths in some tracks and unusual (at least when compared to contemporaries and imitators) orchestrations that conjure images of Stygian mysteries from the east or some arcane ritual, replete with bells and chimes as opposed to the usual trupets and fanfares, is also something that won't be missed by even the most casual listener. Added to these however, is an element nurtured from their previous work and allowed to blossom into something unique: The drums not only demonstrate tight blasts and mid-tempo stomps to please any death or black metal fan, but tear into sections of break-beat that, while occasionally made an appearance prior to this release, were never incorporated into the sound to this degree. What's more - it works. Syncopated rhythms and ferocious blasts merge seamlessly into these sections that add both respite and chaos in equal measure.

With all this said, this is still most definitely predominantly guitar-driven music. There are a couple of exceptions, but on the whole the use of keyboards is subtle and complimentary, the drums sit well with the riffs at any chosen moment of the song and the riffs on offer are truly staggering. When mixed with some, at times seriously beautiful and at others traditionally shredding guitar leads, you've got something pretty fucking awe-inspiring.

Yet it's not just the leads nor merely the calibre of riffage that make this so alluring. To call this 'blackened death metal' or even 'progressive black/death' or some such banal moniker is an insult. Far beyond the usual asinine mediocrity churned out under such simplistic labels, Chronzon supersedes it's 'peers' with apparent effortlessness.

Don't get me wrong: there is black metal here, there is (arguably even more so) death metal and fuck me if this thing isn't truly progressive. We have a combination of almost every extreme style of metal guitar work imaginable. In the same breath we move from brutal slams - with the gutturals to match - to droning, open string chord progressions far more in keeping with that 'black metal' sound, by the way of trem-pick and power chord attacks. This is a melting pot that everything's thrown into but instead of the usual disjointed, unfocused mess, what we end up with is the envy of alchemists.

Yes, it's progressive, yes it's metal (a monolithic, diverse genre in itself), but there's also distinct elements of jazz and electronica, the afore-mentioned break-beat an a myriad of other influences. When bored with the repetitive similarity of so many metal releases, it's nice to go back to an album that, despite its age, hasn't dated at a day and sounds far more original than so many releases that have followed in it's wake.

Let's just hope they get their shit together and don't keep us waiting too long for some fresh material.

Regurgitate Life - Promo 2011

2011-08-05T13:40:00.000+01:00

One-man death metal projects seem to be an increasingly accepted phenomenon. There was a time when such solitary endeavours were almost exclusively limited to the realm of pornogrind with some half-arsed forgettable, badly produced disc being wanked over by individuals with more of an appreciation for 'sick' artwork than musical appreciation. well, that or black metal. But no longer: A single vision and a will to succeed despite petit matters like not having enough people of the right calibre to actually form a band getting in the way; uncompromising riffing not held back by the technical (in)abilites of the weakest member, but free to develop as naturally and rigorously as the composer intends; and the technology to make it work live as well as in the studio.

It's inevitable that comparisons with Putrid Pile, Viral Load and their ilk abound. Sammy Urwin's Regurgitate Life, however, is not a mere clone of its forebears. Building upon the 2010 4-track release 'Condemned From the Beginning', this 2011 promo takes what was previously achieved and surpasses it immeasurably. The art of composition is one which RL has become a master of. Nothing by the numbers here; rather a perfect melding of styles and influences to create a unique sound. Elements of the old and new schools of death metal mesh together to form an audible experience that ranges from chugs and slams to dissonant tremolos and melodic leads which never descend into notes for note's sake but flow together and perfectly complement the two tracks on offer.

The only downfall of this release is one of production. While the drums are well programmed, together with the levels of vocals, they tend to dominate the sound a little for my liking, overshadowing some of the phenomenal exceptional riffing . The guitar sound on the second track also seems muddier than on the opener which doesn't help, causing some of the heavier sections of the track to become a cacophony requiring conscious deciphering.

However, with such well-written material, this is a small criticism. It’s rare to come across a death metal release with quite this level of genuine feeling combined with a total lack of pretension. There’s no need for gimmicks when songs are this well-crafted and when there’s this much packed into a mere two tracks, you don’t feel like you’re missing out. If this material gives an inkling of what a Regurgitate Life full-length will be like, I for one, can’t fucking wait!

Decaying Purity release new track!

2011-05-18T21:55:00.000+01:00

Turkish brutal death-metallers, Decaying Purity have released a new track from their upcoming The Existence of Infinite Agony album. The second full-length from these Istanbul-based purveyors of brutality will be released on Sevared Records in June 2011, with artwork by the acclaimed artist Toshihiro Egawa and, if Defilement of the Deranged is anything to go by, will build on the success of their first album and leave the death-metal scene trembling in its wake. . .

Check it out here:

Oblivionized - Abhorrent Evolution Ep

2011-05-17T18:43:00.000+01:00

2011, Amputated Vein Records / Malignant Manifestation Productions

Misanthropy: The word may conjure images of a teen-angst ridden whiny goth sat in his bedroom, cutting himself (but not too deeply) whilst spinning the latest release by a certain Mr Manson, and fantasising about necrophilia due to the complications afforded by actual living, breathing females who he’s unable to actually engage with, owing to his completely self-absorbed existence as he masturbates furiously with the lubrication afforded by his own tears.

Yes, the word may conjure such an image. Thankfully, these self-proclaimed purveyors of misanthropic technical death-grind are far removed from such a puerile definition of the term. The assailing barrage of deftly composed noise is tight, sophisticated and ultimately very fucking depressing. Like a particularly dejected lemming who’s turned to speed to alleviate the despondency of its own existence, each of the four tracks on offer here brims over with anger and misery in equal measure. Enough indeed to turn one of even the most positive disposition into a bitter, twisted wretch.

As well as the death & grind elements, there is a clear doomy black metal influence on display here; particularly on Abhorrent Evolution & A Modern Prometheus, which simultaneously manages to further the general feel of negativity while never really bringing the overall tempo down too much. Although, that may be largely down to Rushy’s drum work which marries groove and passion with a non-stop machine-gun kick which eviscerates everything it comes into contact with.

Yet it’s the dominance of drums and bass in the mix which makes for a difficult listen. With particular reference to the first three tracks, drums and bass mask the majority of the outstanding guitar work meaning that in order to get the most out of what’s on offer, the listener has to strain to make out the nuances in riffs – and when the riffs are this fast and this complex, is not an easy thing to do. Unfortunately, this isn’t just a problem with the rhythm guitars: On the opener Born into Decadence as well as its successor – Abhorrent Evolution – the tones of a melodic solo, which should soar above the rest of the composition, are reduced to vague strains; lessening the impact so that it doesn’t quite achieve the effect of an emotional sucker-punch which it should.

Nevertheless; fight your way past the rhythm section and what you is some absurdly technical riffing, crafted together to form incredibly well-composed tracks which, while sharing an overall theme – retain an individuality. Thankfully, the problems with production are cleared-up somewhat for the last track, meaning the release ends strongly – as it deserves to.

The tortured, high-pitched vocals of Zac Broughton permeate the whole, increasing the air torment – although I can’t help thinking that they would have more effect if the guttural backing vocals were given a little more prevalence overall.

Despite all petty criticisms, this is a well-polished, professional release that revels in the dark atmosphere that pours from the speakers like a blackened sludge from the Devil’s bowels after a particularly intense night on the Guinness, as well as being a true lesson in technical musicianship while never sacrificing composition on the altars of self-indulgence. Many bands could learn quite a few lessons from these fine fellows!

Oblivionized on myspace

Oblivionized on Facebook

Malignant Manifestation on Youtube

Dyscaphia - guitar video

2011-01-24T16:19:00.000+00:00

While still not having found the time to update this site with reviews, figured I might as well share some of the other shit I've been doing:
Here you can find my latest guitar video - a rough version of an upcoming dyscaphia track.

Any feedback on this, or any other of my videos is appreciated.

Cheers,

T

Dyscaphia | SignMeTo Roadrunner Records

2011-01-10T21:46:00.000+00:00

Dyscaphia | SignMeTo Roadrunner Records

Terrordrome - Vehement Convulsion and Mechanical God Creation - Cell XIII

2011-01-09T20:19:00.000+00:00

Due to moving from one side of the penines to the other and desperately trying to find a job that pays the bills, I have somewhat neglected my sweary rantings and ravings with regards to the general decline of musical standards, for quite some time.

This situation will be remedied - I promise.

However, recently uploaded to Death Metal Baboon were two of my less sweary analyzations of musical excretions. The first is my review of Terrordrome's Vehement Convulsion and can be found here while the second was a review of Mechanical God Creation's Cell XIII which is here.

One of these was a an absolute pleasure to review while the other left me in a lethargical depression. Read them and find out which was which.

Rage Against the Numerically-applied Value System or When the Scorecards Fail

2010-08-23T13:29:00.005+01:00

The complete lack of any kind of scores out of five, ten, percentages, chainsaws have never and have never appeared on this admittedly short-lived (so far) blog is simple: They are fucking meaningless.

Completely and utterly meaningless.

So why, by the deifically raped mother of the carpenter, are they so bastardly prevalent?! I can’t answer this. What I can do is illustrate my point.

My first argument’s easy and is essentially based on the subjectivity of reviews: Each person is going to have their own opinion on what’s good, bad or that to which they’re indifferent. It doesn’t matter whether the item being reviewed is music, literature or a motherfucking sandwich – people’s opinions are subjective.

So what does that mean for the score arbitrarily tacked on to the end of a piece? It removes any pretension to worthiness that this form of reviewing may have accumulated over the years.

But why even bother with reviews in the first place? If they are just an individual’s take on something – which is all they are – then what makes them important? What makes them useful?

A good review should not only let the reader know – in as much as is possible without hearing it for themselves – what an album sounds like. Irrelevant of the writer’s own, personal opinion, the reader should at least be left with a vague idea of what to expect. Obviously, the review is going to be biased in some way or another, skewed in favour of or against the disc in question. This is a given. But that doesn’t automatically preclude the author from communicated – in however biased a fashion – a certain degree of information with which the reader can make their own decision on whether to purchase or save their time and money.

This cannot be achieved with the asinine, arbitrary score cards which have been so accepted when it comes to the reviewing of most products.

This is no newly developed antipathy towards scores/ratings in reviews. It’s something that I’ve known for a while and something that was festering, growing and mutating within me a long time before I became aware of it; but every so often it’s brought into focus with such force and alacrity that I can’t help but comment.

As you know from previous posts, I have recently been contributing to http://www.deathmetalbaboon.com/. Unlike myself, The Baboon is fond of such ratings. Fairy snuff, methought, I’ll bash out the scores for those lethargic lightweights who don’t even have the dedication to read a few hundred words but skip to the end because that’s what they’ve got used to over the interminable years of reading mainstream *cough* metal *cough* media; the majority of which bears no resemblance whatsoever to intelligent journalism having more in common with cock-sucking scrotal limpets backstage at a cock-rock gig. In both mentality and intelligence.

Ha!

So anyways, there’s me, when I’ve had the chance to squeeze out a bit of the old verbose vilification, pondering over numbers and throwing something that looked about right across the room, hoping it’d stick and not slowly slide off in a limp and somewhat pathetic manner.

And it was good.

Until I wrote my reviews of Decrepit Birth and Blastanus. One of these was a massive, crushing, brutalandnotinthegoodway disappointment which clove my soul in twain and left me writhing on the floor burbling fluids for many an hour . . . although that might’ve been the yoghurt I found in the back of the fridge, who knows? The other, well . . . I wouldn’t go as far as to say it was amazing but, it was pretty good; a nice surprise from a band that could potentially be pretty fucking cool.

And this is fine. This is being a music fan. Sometimes things don’t work out as planned but the crushing disappointment is always followed by the new discovery.

The problem’s crusty cranium emerges when the numerical value system comes into play:

Decrepit Birth’s Polarity was a massive disappointment to me and failed to meet expectations so magnificently that there was no redemption for it. The only thing that elevated it above 0-3 level was the musical ability. This necessitated recognition! I couldn’t skip over this! And it was only shite compared to my expectations based on their previous release. So it had to hit the midrange. 6/10

Blastanus’ self-released Odd on the other had, shows a lot of fucking promise and a fair whack of originality. This was an exercise in point deduction: starting with a full sheet and removing them for what I felt were detracting elements on the disc. Again, due to production issues as well as a few other elements that don’t meet my personal catalogue of the praiseworthy, 6/10.

How the fuck is this a fucking, bastarding, useful fucking system for reviewing anything?!

It just doesn’t fucking make sense.

In the future I might actually just revert to an automatic number generator. That way reviews that are happily basking in the jism of awesomeness of some new release will be marked 0-1 or vice versa.

Then we’ll know who actually fucking reads this shit! *Cue completely over-the-top maniacal laughter and we’re done*

Rest assured; the Pastor keeps to the true way: The expulsion of dogma is necessary. We should not attempt to emulate our forebears, but safe in the knowledge and surety of our righteousness, forge our own path.

(5⅜ miscellaneous brutal things)

Decrepit Birth - Polarity

2010-08-18T11:42:00.003+01:00

Another one that's gone up on the less sweary/ranty baboon: http://deathmetalbaboon.com/album-review-decrepit-birth-polarity

Hopefully I'll get a chance to return to my foul-mothed, apoplectic self pretty sharpish and pen some stuff solely for the Pastor . . .

Cenotaph - Putrescent Infectious Rabidity

2010-07-18T23:23:00.006+01:00

I've been writing for Death Metal Baboon - so this review can be found here.

Fleshgod Apocalypse - Mafia

2010-06-29T00:00:00.000+01:00

Fleshgod Apocalypse - Mafia

Willowtip Records (2010)

I must admit that, though I'd heard people rave like demented hyenas about this band, I had actually failed to check them out until this release, which is my own shear fucking stupidity and a mistake I quickly remedied by acquiring their previous effort Oracles at the soonest available opportunity.

In the world of death metal, having 'classical influences' can mean a number of things: It could mean that one or two of the tracks feature a piano or some hugely unconvincing synth strings; it could mean that you occasionally have a neoclassical solo comprised of licks memorised from some Malmsteen instructional video; it could mean that you're just one of those delusional fuckwits that thinks the occasional acoustic, instrumental interlude is all you need to elevate you above the 'riff-raff' of brutal bands to stand like the poncey cunt you are, stick firmly positioned in the anus, trying to convince everyone who'll listen that you're the metal Paganini.

Well, fuck you. . . fuck all of you, because Fleshgod Apocalypse truly do have classical influences; while neoclassical leads abound throughout this EP, there's no thoughtless widdling here. There is an originality to both the progressions and the arrangements with songs often being structured in a classical vein and building to a narrative crescendo before repeating key sections just to ensure they're suitably drilled into your brain.

This repetition does, however, get a bit tiresome. After the first few listens, Thru our Scars [sic – another demonstration of death metal's Illiterati elite] while full of brutal riffs, driving blasts and eye opening leads, I keep wanting the song to either end or do something different. The fact that one, initially jarring section featuring bassist Paulo Rossi's high-pitched and almost operatic vocals is repeated unnecessarily means that instead of the listener waiting for the second spin of the disc to sagely nod in understanding of why it was employed and how it fits musically, he's far more likely to want to teach the fucker a lesson in high-pitched, operatic singing with particular reference to castrati! Similar to some sections on Emperor's IX Equilibrium, while Rossi's vocals are hugely impressive, I can't help thinking that by simply dropping them for one of the two sections would actually serve to increase the emotion of the track as well as propelling the incredibly intricate fret-work that sits in the background to the fore.

Again, on Abyssal, we have an incredible track that could only benefit from losing a minute or two. I'm not sure whether Fleshgod and I are on different pages - me being on the one that says "leave the fuckers wanting more and they'll love you for it" - or if the Apocalypse boys are just trying to fill out an EP that only has three original songs on it, either way, these tracks could only benefit from going on a bit of a diet and coming out a little leaner and a little meaner.

Aside from the 3 new songs, the remaining tracks on the disc are a cover of Blinded by fear which, while both competently executed and differing enough from the At the Gates version, was never going to sound as good as the original and - like their previous album - a piano outro.

Criticisms aside, this is an amazing EP and an impressive follow up to Oracles. The malevolent tremolos, the expertly conducted sweeps, plethora of riffs, tight drumming, solid vocals and a composition which both surprises and manages to keep its hooks in for days on end mean that this is a near-faultless release. Those criticisms levelled at this release are minor in the extreme and on most other discs would be niggles compared to far bigger issues. The fact remains that there *are no* bigger issues. Not only is the musical ability on display phenomenal, the song-writing pretty much above reproach but it's all backed up with a superb mix that means that the brutality is accentuated while everything remains balanced and therefore audible.

With Hour of Penance' future looking uncertain to say the least, there are bound to be comparisons with two ex-members in Fleshgod, however we see these Romans not just distancing themselves from HOP but forging their own distinct furrow to an even greater degree. I just can't wait to see what their next full-length holds for us. . .

Human Filleted - Blunt Force Embludgeonment

2010-06-23T22:51:00.001+01:00

Human Filleted – Blunt Force Embludgeonment

Sevared Records (2010)

Sometimes all you want is a bloody slice of brutal death metal. The problem is that so often you're left disappointed; in a world that's literally glutted with bands all trying to be more brutal than the next it's easy for the final result to be lacklustre, unconvincing, musically sub-standard or downright forgettable.

Thankfully, Human Filleted don't suffer from the above problems. This - their second full length outing - proves to be brutal, groovy, chuggy and technical in equal measures. There's nothing here that you won't have heard before, however elements of such titans as Gorguts, Suffocation and Gorgasm are brought together with an undisputed understanding of what makes brutal death metal work. Trem-picked, blasting phrases juxtaposing stomping slams, melodic and at times neoclassical leads scattered liberally throughout, with the occasional breakdown (without becoming some scene-kid's wankathon) this is brutal death metal at its best.

While this is straight up, no-nonsense brutality without a trace of stick-up-the-arse musico-smugness, the faster riffs and, most notably, leads demonstrated by the Christman (Purulent Infection) and Ross combination are outstanding. The fact that the majority of the tracks are based on slams and evil-sounding tremolos just serves to intensify those more technical moments.

Neither do the band shy away from stepping off the tempo once in a while to deliver sinister melodies and brutal grooves - both of which are superbly exemplified on the opening Hooker Cooker; a track which had me hooked (sorry) immediately and sets the scene for what's to follow.

The production is clear, yet chunky - the brutally scooped guitar sound both cutting through like a razor and bolstering a heavy low end that's liable to leave anything not nailed down to go bouncing across shelves and table-tops alike. The bass drums deliver a deep rumble behind a ringing snare and a big tom-sound that reminds you just what a roll's supposed to do while the tight bass binds everything in a tourniquet of old school savagery. Over all of this Christman's gutturals pornographically extol the virtues of gore. Joined on a track each by Shaun LaCanne (Putrid Pile), Damian Leski (Gorgasm) and Anthony Voight (Sarcophagy), the overall vocal performance is given variation which adds to the memorability of tracks that, if your anything like me are going to be stuck in your head for good.

While there will doubtless be those decrying this album for it's unoriginality, this is not a release beset with problems of pretentiousness. This is a brutal death metal album of the old school variety and it doesn't try to be anything else. What it does do, it does brilliantly. The composition's phenomenal; developing seemingly instinctively as well as creating an immersive atmosphere that's sadly lacking in many contemporary releases. From the bludgeoning opener to the final disquieting harmonies of Reduced to Pulp, this release keeps you engaged throughout.

Human Filleted might not be throwing out something hugely innovative but when there's so many bands out there desperately attempting to approximate their influences, these guys demonstrate that they're truly masters of their craft.

Sarcolytic - Thee Arcane Progeny

2010-06-22T15:03:00.002+01:00

Sarcolytic - Thee Arcane Progeny (2010)

What is it with musicians? Is it that there really are so few of them actually willing to get off their arses and do something, or are they just the insular, incestuous bunch they appear? Yet again a band comes from left field (granted, they did so at the beginning of the year, but this blog didn't exist then) to totally side-swipe me, only for me to find out that it's another fucking supergroup!

After a fashion anyway: Sarcolytic come strutting like the technical death metal aficionados they are, boasting members of Images of Violence and Disgorge. Unlike either of these two bands however, Sarcolytic is not just another moniker preceding the standard brutal-death assault which - while I love - we've all heard a thousand times. Sarcolytic take a darkly Sci-Fi tinged, lyrical approach to a sound which while being both heavy as fuck and technical as bastardry is tinged with elements of black metal in the form of complex open chords which break up technical yet catchy riffing. Particularly apparent on the title track and Emissary, its appearance on the latter also demonstrates some excellent interplay between the guitars and Denton's almost jazzy bass that adds another layer to an already complex, yet well constructed track. This is not to say that there's a lack of pace on this release; at times reminiscent of their technical US counterparts, at others sporting an almost melodic dissonance more usually found on more 'necro' releases, Sarcolytic combine these influences in a manner that is, if not always particularly original, certainly very well executed and incredibly memorable.

There is, in contrast to Disgorge and IoV, a distinct influence from the mainstream of death metal here - there are elements of Nile, Behemoth et al, all of whom have flirted to some degree with the blackened sound - but Sarcolytic manage to make their moments of grimness seem fresh. I'm not sure whether it is the Disgorge-inspired brutality preceding them or whether that in tracks so full of complicated, technical mastery, these sections come as a welcome focal point to make the tracks instantly distinguishable from their predecessors. Whatever it is: it fucking works. Furthermore, it serves to remove any doubt that this is a band in its own right - this isn't some second-rate Disgorge tribute.

I can see why some fans of Disgorge and Images of Violence may not immediately warm to this release. That being said, not only is the guitar work mind-fuckingly technical and gratifyingly varied, the bass both expertly played and mixed, old-school vocals thanks to John Zig; guttural and complimentary - all held together with amazingly tight drumming which up the feel of brutality without dominating the track - not only do Sarcolytic do all of this, but at the same time create a truly dark atmosphere which sucks you in to both the music and the lyrical expositions as well. Building on what they'd already proved themselves doing; these guys have forged their own musical identity.

Faust - From Glory to Infinity

2010-06-05T12:47:00.003+01:00

Paragon Records - 2009

Okay, so the reason I got this can be summed up by two words: The first of these is 'nun' . . . the second, rather unsurprisingly, is 'tits'. What can I say? The malformed adolescent in me (snigger) loves stuff that's blatantly supposed to be inflammatory. . . and tits.

Only after I got my hands on this release did I realise that we've got (yet another) super-group of sorts. Sporting Steve Digiorgio – a bassist needing no introduction – Daray Bzozowski of Vader and Aleister – touring guitarist with Ancient – collaborating to produce an acceptable piece of somewhat progressive melodic death metal.

The musicianship is more than solid. The lead guitar work in particular, with its sweeping arpeggios, fast runs and sometimes surprising progressions are key to what this release is all about. The vocals on the other hand, are passable at best and, at times, just infuriating, making the instrumental sections a blessing. Neither the lyrics nor the song titles help matters much, unless these guys are actually trying to sound like angry adolescents. Thankfully, with the vocals being as they are, you're unlikely to be paying enough attention to decipher them.

The production could have benefited from a beefier low end and although the lightweight sound of the drums actually suits the quieter sections quite nicely, it would be nice to hear more of the bass now and then. The exception to this being Sentimental Worship which has a very nice bass-driven acoustic section.

The substandard vocals aren't really aided by being so high in the mix, either. It just serves to demonstrate quite how bad they are and after a few runs through the album just serve to detract from some very nice guitar work.

I can't help but feel there's a degree of identity crises with this band. Unsure whether to launch a balls-out, vehement diatribe against religion or craft a mature, progressive album concentrating on musicianship, Faust attempt to do both and the result is that it doesn't quite work. A lyrical approach that would be far more suited to a grind release, together with the the puerile artwork detract from the grown-up and well-rounded feel that the music itself seems to be trying to convey.

In some ways the album also feels unfinished which is a tad laughable seeing as the band was founded in 1992 and this is their first full-length. The outro, for example, is quite a nice, mellow acoustic piece with a dominant melody laid down on electric which, despite the vague niggling at the back of my mind that it should have featured in an 80's movie, I quite enjoyed. The problem is that it could've been so much more; it's crying out for some of the sweeping leads that were showcased earlier on the disc but fail to materialise. Which is actually a good analogy for the rest of the album: It teases you with the possibility that it could have been something amazing while only attaining the mediocre.

Defeated Sanity - Chapters of Repugnance

2010-06-05T11:02:00.001+01:00

Willowtip Records - 2010

I must admit that this album took a little time to work its way under my skin. As a massive fan of DS's previous outings; Prelude to the Tragedy and Psalms of the Moribund, I was all set to love Chapters on its first spin. The fact that I didn't is nothing to do with it being a bad album and far more to do with the production itself which has pushed the guitars back in favour of a huge low end that compliments a more slam-oriented style than previously seen. This leads to some riffs in the faster, more chaotic sections flying by with no real definition or clarity, which is a shame as the sheer musical ability on display is phenomenal.

DF's combination of influences is superbly demonstrated at the best of times, yet none more so than on Engulfed In Excruciation which manages to mix slams, grooves and technical mastery in a perfect fashion that I've rarely come across. Carnal Deliverance's mid-riff tempo changes and fast choppy sections keep slams that might otherwise feel a little repetitive constantly interesting, while the jazzy bass sections in Consumed by Repugnance and its occasional flourishes on tracks like Blissfully Exsanguinated serve to highlight the brutality as well as breaking up the assault – albeit briefly – just for it to pick up pace and have another go with re-awakened vigour.

Blissfully Exsanguinated also demonstrates how the intelligent use of samples can actually exacerbate the intensity and atmosphere as opposed to being tacked on at the beginning or the end of tracks with no real purpose.

This album has worked its way under by skin. It's a fucking great album that only time will tell whether it'll live up to the record company's promise of being the most brutal album of the year. It's truly dark atmosphere permeates the music from its grooves to its more technical moments and continues throughout the indecipherable lyrics which, while are pretty much what you'd expect theme-wise, come across with a realism that doesn't seem contrived.

It remains however that this album lacks the clarity of production demonstrated on their previous albums. The fact that the guitars are, on occasion, reduced to a buzzing background noise compared to the prevalence of bass and drums that dominate the mix means that it is impossible to truly appreciate the songs in their totality. With third albums being the notorious clincher for many bands – especially for one that's altered its line-up quite so drastically as this – risking all on a mix that fails to demonstrate the full nature of the compositions is just unnecessary.

Arkaik - Reflections Within Dissonance

2010-06-04T12:50:00.000+01:00

Release Feb 2010 - Unique Leader Records

Let's face it; with any Unique Leader band you know what you're in for. It's unlikely to be sloppy and simplistic and is probably going to have sections that make you wish you'd never picked up that guitar in the first place. . . if you play that is, obviously. Arkaik don't disappoint.

However, the first thing you'll notice about this release is nothing to do with the music: The artwork is amazingly well executed (as you'd expect from Par Oloffson) and grabs your attention immediately; pulling you in to decipher a logo which in that classic metal tradition is so hideously disfigured in the spelling department that linguists within a thirty mile radius spontaneously combust from a mixture of shock and disgust. I'm not sure what misspelling has to do with being metal . . . never have been, but Arkaik certainly seem true beleivers as far as this issue is concerned.

The music is both brutal and technical and manages to be truly inventive. edged with a progressive feel which is only exacerbated by surreal lyrics, this isn't a release that lets up in the name of 'experimentation'.

The casual listener may feel like this has all been done before - after all, it's just another Californian tech-death band, right? Well, while there is some truth in that, the sheer anger and ferocity on display by this lot does a fair bit to set it aside from their counterparts. Each song stands alone as a well-crafted composition that is far more than an experiment in the whole number of riffs to song ratio thing. Something that this band have been erroneously accused of - in my opinion, at least. While I've been caught out - after months of having this stashed as a mainstay on my mp3 player - by riffs that I'd missed or forgotten about the first few times round, I find this helps maintain the albums feel of freshness long after other releases may have gone a bit stale . . .or even mouldy.

But what is this display of technical proficiency without something memorable to bang your head to? Well, Arkaik offer up a bit of that too; elements of melody and groove are there - most notably on The Divine- but maybe a bit too infrequently for some listeners. Neo-classically inspired riffing mixes with more traditional fare, odd time signatures, tempo changes, unexpected breaks, a bit of groove and the occasional melodic hook to nail the track down and stop it escaping all over the place.

The bass also plays a crucial role in a few places by lifting the track. In a manner reminiscent of Caspersen, Eric Cohen adds a new dimension by complementing guitar riffs or in the vein of Webster adding little showcases of mini bass solos that serve to break up a track like Womb of Perception; bridging riffs that would otherwise have seemed a bit disjointed.

The master-stroke of this album is not to stick to a formula. At no point do you feel like you're listening to a set of riffs that have been given the same treatment as the previous two or three tracks. Each song evolves in a way which feels perfectly organic for that track itself. If there's no need for a solo, there isn't one; if it'd work then Arkaik have thrown one in, which is both an approach that I love as well as one that isn't often practiced by many bands who feel like they need to add a chug or a breakdown or whatever it is to a song purely because they haven't had one yet. All too often this can leave a track feeling either unfinished or, at the very best, patched together.

This is not an album for everyone. It's certainly not an album for the casual listener. If you're looking for something with a tried and tested song structure and a few simple riffs to bang your head to then move on. If, on the other hand, you're looking for something with a dark and vehement atmosphere that continually keeps you listening in anticipation of what's going to happen next and throwing your instrument down in disgust that it's unlikely that you'll ever be good enough to play some of this shit . . . if you're that kind of masochist, then this is for you.