Cadaver Garden

"Blasphemer, Heretic, Defiler of the Sacred Ones. Thou art Deprived of Your Limbs. Thy Nose Shall be Split. Thou art Cast Down and Overthrown."-Cast Down The Heretic by Nile

Facefuck: Throes of Lament

September 22, 2015

a1515471573_16 Are you ready to get your face fucked? Or at least torn off by what sounds like cannibals that found some instruments, taught themselves how to play, and created this band called Facefuck. Facefuck hails from Perth, Australia, and if I know one thing about Australia, everything there wants to kill you and the same thing can be said about Facefuck. I’m positive that they want to kill you with their perverse, grotesque brand of grinding brutal death metal. Throes of Lament throws everything they can at you to make sure that you stay dead, and after your (un)timely death, it makes sure that your body is mutilated beyond recognition.

Through the ten songs that are rocketed at your face through this album, you witness true brutality. Facefuck gets some help from other sickening gore fiends in this album. In the song Boundaries of Flesh Daniel John from Fetus Fertilizer lays down a blood soaked solo, Jason Lambert from Putrified J is featured on The Summoning and Roger Beuajard from Mortician helps out on the song Hellbound.

There is no shortage of blood to be spilled here, as Throes of Lament rips you limb from limb, and saws at your neck until you’re nothing left but a headless stump. From the opener Ritual of Desire you can feel a sense of urgency in which the music is played. It’s not an urgency in which they want to get the song over as quick as possible, but it is more of an urgency to decimate your life.

The ferocity and pace in which Facefuck play only solidify the fact that through the course of this album, they are trying to stack up as many bodies as possible. The slightly over twenty minute run time doesn’t give them a lot of time to hack and slash their way through your town, but in the time given I can imagine them culminating a pretty substantial collection of cadavers.

Not one song on Throes of Lament sits still for long or at all for that matter. Save for some intros and outros, Throes of Lament is one C4 blast after the next. The torture begins with the excruciatingly painful riffs that hit you like a nail bomb, and the pain continues with an acrobatic performance from the drums. Your execution comes with the vocals. The vocalist spews forth gore soaked and bile lined gutturals that are bound to rupture some organs.

Throes of Lament operates how a methed out serial killer would. Systematic, yet calculated. The album is fueled by gore, hate, and a visceral need for blood, and with those combined it makes for a sickening ride. Whether you get off at the end of the ride or not is to be determined.

Featured Interview: Mutilatred

September 22, 2015

Mutilatred comes out with their debut album on September 25th this year through Seeing Red Records. “Dissecting Your Future” and its review is here. Below is the interview conducted with these death metal fiends as they were kind enough to take time out of their day to answer some of my questions that I had for them.


Thank you guys for taking the time out of your day to do this interview with me.

Patrick: Yeah no problem.

So I just have a few questions for you guys. The first being, when you guys first formed Mutilatred what was the vision that you had for the band?

Patrick: Well, we had a lot of other bands in the past that didn’t work out because of member problems and whatever else that you can imagine, and there was always a lack of dedication from other people so we decided we really wanted to keep playing metal and that was our main focus and passion. So we made this band with the members of other bands, and all of the dedicated members from the other bands came together to make this band. So that and what we talk about in our lyrics is another big important part. 

Pat Meyers: I joined up with Patrick and Clay and they were like, “It’s a two piece” and I was just going to jam out with Clay and Pat, and I had a chance to hear Mutilatred and what they were doing and I really loved it. I kind of begged them to be a part of Muilatred haha. I said, “I’ve got a family and I can’t make everything, but if you guys let me be a part of it’d be really cool.” 

Patrick: Me and Clay-there’s three of us here right now-we started it. I do guitar and vocals and Clay plays drums. And only just a little bit into the band, like a couple of months we met up with Pat Meyers and we started playing together with him, so that’s it.

I always really like good band names, and Mutilatred is one of those. How did you end up deciding on that name?

Patrick: That was completely random.We already had the idea to make a band, we weren’t jamming just yet. We wanted to play death metal and I thought of  names that I wanted us to sound like. I thought of Mutilated, Mutilate and Hatred and I kind of combine those together. We wanted to think of something unique, not something like a sentence or something too weird. It kind of just fit perfectly. I thought of it and was like, “Yeah that’s it”. We went with the first idea, we didn’t think of names too much at all. 

When writing the songs for “Dissecting Your Future” was there a theme that you guys had in mind, or were you writing songs to be as heavy as you could be?

Patrick: No, there’s definitely a theme. We write a lot about corruption within, large scale corruption I guess you could say. And more specifically, problems with drugs, pharmaceutical companies and drugs in general, hard drugs, nothing normal. There are plenty of people that have had their lives ruined by pain killers, inhalants and drugs of that nature and it really pisses me off and pisses all of us off. Whenever I’m coming up with writing the lyrics and riffs, I’m thinking of that most of the time. So that’s where a lot of our content and our titles come from. We all collaborate together on song titles and riffs and all of that stuff.

Can you guys tell me a little bit about your song writing and recording process?

Patrick: How about Pat Meyers starting that off.

Pat Meyers: Well, Patrick and Clay have been together from quite some time and they often collaborate and they can meet a lot more often than I can. I have a family so I’m at home a lot and I go to school full time as well. Basically those two work on it the majority of the time. And when I can make it out, sometimes I contribute, and sometimes I just give it the two thumbs up. And I have a lap top, and a drum machine and I write a lot of shit at home. I mean I write a lot. It’s a disease. And what I usually do is write it and record it compress it down into an MP3, email it to everybody and depending on what everyone’s schedules look like, sometimes I just record myself playing it and put it in a Dropbox. And usually I’ll just show up and we’ll be like, “We want to learn this demo” and that’s how it works. And we also jam together all at the same time.

Patrick: It’s usually me and Clay writing together with our ideas and Pat writes at home, then we get together and we collaborate, and that’s when we put everything together. And for recording, we write so often, me and Clay will jam anywhere from four to five times a week, lately we’ve been trying to do that. We write a lot. We brought all of our own equipment for recording, and we record and send it out for mastering.

Pat Meyers: And we can set up our own timeline. When we were recording we recorded twenty-three or twenty-four tracks. We recorded our whole catalogue, and that way too we could pick through them and pick our favorites and say, “This is what we want”. It really gave us a lot of wiggle room to build and album or an EP and just have future recordings.

When recording, is there a certain criteria that you have to meet before you believe the album is ready to be put out?

Patrick: Yeah sure. We’re all pretty picky. When we work more together, we all get more specific on what we like and what we don’t like as much. I guess the only criteria is that we’re always satisfied with it and that it is to its most extreme that we can make it. We don’t want to cut any corners, or have anything watered down or boring. 

Pat Meyers: When we did the album, we did kind of pick a pace. We wanted it to start off quick at the beginning, then go into a mid tempo and then in the middle somewhere we have a lengthier song and at the end the last song is a like a nice bulldozer. It’s just a nice slow, crushing tune. Pat did a piano piece, and once we really started building it my question was, “When do we want to use this stuff and how do we want to use it?” Then it was just a matter of piecing it together. We spent a lot of timing putting it together even though we didn’t have to.

How did you guys end up getting in touch with Seeing Red Records? And was it a lengthy search to find a label that was willing to work with you to put this record out?

Patrick: It wasn’t lengthy, and it was random. And actually Thomas is here right now, he’s over on the phone. Long story short, we had a different band before this, and he found that online and he got a hold of us and we sent him the material. We told him we were taking this serious and we went from there. We weren’t looking, but we weren’t not looking at the same time. We actually had all of our stuff recorded so he hit us up at the perfect time. And we were looking for someone to press our CD and all of that, and he came on in and that’s how it all got started. And it works out perfect because of his main of helping metal thrive and we feel the same.

I just have three more questions for you guys. They’re standard questions that I like to ask. The first is: What are some of your most coveted band shirts?

Patrick: I’m wearing mine right now. It is my Morbid Angel shirt, and it doesn’t fit me anymore and it pisses me off.

Clay: I have a lot of Devourment shirts that all of my friends give me shit for because I have so many of them.

Pat Meyers: I was in another punk band Disconnected and we did some shows with a band called Cloud Rat and we did a collaborative shirt. I know it’s cheesy to wear my own band’s shirt, but I love Cloud Rat a lot. It’s such a cool shirt, it’s got a crazy monster on it. I have a young boy and every time I put it on he goes, “Zombie daddy”, and I say, “Hell yeah zombie!” 

When you guys were growing up, what were some of your favorite records?

Patrick: I really like The Bleeding from Cannibal Corpse. And Premonitions of War, that was one of my all time favorite. So them, Cannibal and Morbid Angel.

Pat Meyers: Honestly, I don’t listen to death metal a lot. I’m sorry man, I hope I’m not ruining your website or blog. I want to say Radiohead. I’ve always been into like experimental and theme driven albums, stuff like that. 

Just one last question for you guys. If you were album to work with one artist either alive or deceased, who would it be?

Patrick: Everyone that comes to mind would be really hard to work with because they were so difficult. I guess it would be Erik Rutan.

Pat Meyers: Honestly, I love Jimi Hendrix. When I started playing guitar I was really, really into Jimi Hendrix. So to even to be able to sit in a room with him would be incredible. Jimi Hendrix would just be incredible to talk to. I got a chance when Premonitions of War was recording we were with Rutan and I’ll tell you what, he is such a good dude, he’s got so much energy.

Thank you guys again very much for taking the time out of your day to do this interview and taking time to answer some questions for me. 

mutilatred_cover_RGB Mutilatred will be coming out with their debut album Dissecting Your Future through Seeing Red Records on September 25th, be sure to keep an eye out for it.

Thurm: Self Titled

September 21, 2015

a3646618281_16 When listening to black metal, what you expect is a complete decimation of your soul, the darkening of your day, and your mood to turn from happy and joyful to a complete visceral hatred. Thurm seem to accomplish all of those things with ease. Their self titled album features seven tracks of raw and blood draining black metal. The utter darkness that follows this album around will be sure to consume you as well. Each song doesn’t stop until you are filled to your bursting point with poisonous fog.

Upon entering the pitch black labyrinth that is Thurm, just keep in mind that there is no way out. You’re trapped in darkness forever until you die, or sell yourself to Satan. Either way, you’re doomed for eternity. Not all black metal needs to make you feel cold and isolated. Thurm makes you feel like you’ve been accosted by  hundreds of soul sucking demons that leave your carcass for the vultures.

Anger is a theme here with hatred coursing through the blackened veins of this album. The lyrics are bleak and forceful making you feel like you’ve been sucked into a cloud of eternal pain and suffering. You should be wary of what mind state you are in upon listening to this album. To be fair, I suppose it doesn’t really matter. If you’re angry, you’ll feel even more hatred and anger, if you’re happy, hate worms will infect your brain taking over the true person that you are. The worms will burrow deep inside of your cranium making you a hate monger through and through. So I guess it doesn’t really matter what mind state you listen to this album in, you will succumb to the darkness whether you want to or not.

The album is dissonant, and I don’t mean just a little portion of it, I mean all seven tracks. The guitars are buzz filled enough to jar your brain right out of your skull, and the bass thumps and hammers away at your flesh until your tender enough to be consumed. Harsh and visceral are true understatements. Throughout the entire album you only see death and despair, there is no light at the end of the tunnel.

Between the razor sharp riffs and the bass that sounds like an army of demonic bees as well as the spite filled blasts from the drums, there is no time to take a real breather. The songs here are fairly lengthy which prolongs your imminent death. Over the harsh and accosting style of play, the vocalist spits corrosive acid which eats away at your ear drums. The shrieks are throat shredding to say the least, but it adds another element of destruction to the list.

Thurm does a great job of having their self titled album work together as a cohesive unit, a horde of demons marching to cull the weak and enslave the powerful. Overall the album is dark and sinister to say the least, and it takes you down a path I’m sure you didn’t want to travel down. Either way this album is a great disparaging black metal album for any heathen.

Monday Morning Mayhem

September 20, 2015

I realize that the title of this is Monday Morning Mayhem and today is in fact not Monday, but Sunday. But today on this glorious Sunday morning-or afternoon or evening depending-I’ve decided to try something a little different. In preparation for the dreadful day that is Monday, I have compiled a play list of individual songs as well as albums for you crazy people that will be sure to get you through Monday. So today I bring to you the first installment of Monday Morning Mayhem in hopes that it will bring you joy-or at least entertainment-today as well as that awful day called Monday.


a3052949861_16 The first offering is from Temple of Baal. Mysterium will be out October 2nd through Agonia Records. The song that I came across and the one that is available right now is titled Divine Scythe.  If this song is any indication of what the rest of the album will sound like, we should be in for a soul sucking treat. Divine Scythe displays the ability that Temple of Baal possesses to create not just a song, but create something that keeps you interested and keeps you thinking. Their style of black metal is anything lack luster or thought provoking. The song shifts from a sonic attack of poisonous riffs, nasty drums and flesh ripping vocals to a more melodic piece a little over half way through the song which paints a great deal of atmosphere even. As stated above, if “Divine Scythe” is any foreshadowing of what is left to come from this eight track album, then we’re really in for a treat as this song is great on so many different levels. The album is out October 2nd through Agonia Records.


a0856894526_16 The second offering for your Monday woes is a full album this time and it comes in the form of a band called The Omniscient Eye. The Omniscient Eye is a one man band that hails from Germany and Shadowland is the title of the album. Shadowland is a concept piece and provides six instrumental songs for your listening pleasures. The album is interesting and combines a lot of different elements into the music to create a unique sound. Shadowland creates wonderfully unique and mysterious soundscapes. Each song here is a story, the whole album is a story and accompanied by the songs are pictures you can download to help you better understand it. But as far as what is going on here on this album, it is unique. The Omniscient Eye combines raw death metal elements with some core elements as well which make up the breakdowns that are present here in Shadowland. You don’t have to worry about the breakdowns here though as they are tastefully placed and only used when needed. The majority of the album is exceptional guitar work, dizzying solos, machine gun drumming, and ambient sounds that paint stunning pictures for you. Each song transitions from a sonic brutal attack to something that seems as though it couldn’t even harm a flower. The album is packed with wonderment and great musicianship, definitely a great listen.


a2474639440_16 Let’s darken the day a little bit with something that will kick Monday hard enough in the teeth that it will no longer exist. Ritual Killer released Exterminance  just a couple of days ago, and if this doesn’t wake you the fuck up on a Monday I don’t know what will. Exterminance is filled with caustic riffs, throat shredding shrieks and that overall feeling of blackened hate. The album is eight songs long and provides you with everything you love and need in black metal. Ritual Killer unleash cold and devastatingly violent songs with this album. Just imagine yourself getting mugged in medieval times. You’re walking down the cobble stone road, and all of the sudden you are confronted by a behemoth of a man. He takes all of your gold, then lops your head off in one swing of his ax. Ritual Killer presents music that does much of the same, except with this music it robs you of your soul then decapitates you and laughs in your lifeless face. The album is as harsh as can be. The guitar work infects your mind killing you from the inside out while the drums puncture and lacerate you from the outside and the final blow and possibly the cause of death are the flesh shredding vocals. Exterminance is a kick in the ass, and never once does the album let up and let you come up for air. Instead it suffocates you under its poisonous fog of black metal.


a1483962799_16 Going from bleak and disparaging we transition to the grotesque and perverse. Disgruntled Antropophagi hail from Pittsburgh and Rampage of Misanthropic Purge is their debut full length that was released just this month off of Coyote RecordsDisgruntled Antropophagi lay down eleven guttural and devastating tracks on their debut. What you see happening to the guy on the front cover is essentially what you feel like after listening to this album. In the realm of brutal death and slam, brutality of course goes a long way, and Disgruntled Antropophagi supply it by the truck load. Seas of blood, body parts, entrails ooze from this album. Rampage of Misanthropic Purge does not skimp on the face smashing slams, the eviscerating gutturals, berserk drumming and just the overall attack on your ears. Disgruntled Antropophagi is a very destructive force, one that could explode someone’s head just upon one listen, Scanners style. If you like head exploding goodness, gore, blood, viscera, and overall mayhem, then this has got to be for you. The album is out now through Coyote Records.


That concludes this weeks Monday Morning Mayhem. I hope this play list provides you with enough force to destroy Monday once and for all. With everything provided here you should at least give Monday a nice kick to teeth. Enjoy the music, and another list will be available next week!

Album Round Up: Horrocious, Atomic Symphony, Poured Out, Chalera

September 19, 2015

a0054611498_16 Having album art that is eye catching is almost entirely necessary, and Horrocious and their album art is eye catching. The black and white image with the red logo caught my eye for sure. Horrocious hails from Turkey and if you couldn’t guess they play black metal. Horrocious is a two man black metal band, and Obscure Dominance of Nothingness is their release. Of course with this release, domination is on their mind. Domination of what you ask? Fucking everything is my answer. Domination of the earth, universe, and well…nothingness as well. With the particular dissonant and completely destructive force in which they play, domination should come easy to these guys. Everything that black metal stands for is present here. Hate, blasphemy, complete and utter darkness, and the eradication of humankind. The darkened and venomous riffs consume your soul while the maelstrom drums pummel your innards, the throat scraping shrieks puncture your ears making them bleed profusely as you mosh to this blackened abyss that is Horrocious. If you like everything that black metal is, the old fused with some new elements, Horrocious is for you.


a1395451312_16Taking a walk on the not so disparaging side of things brings me to Atomic Symphony and their album Redemption which was just released a little over a week ago. The album sports nine songs of the progressive metal style of things which includes beautiful clean singing, a great use of keyboards, heavy melodic riffs, and smooth rhythmic drumming. Even though Atomic Symphony is new to the progressive metal world-and just metal in general-they seem to weave this album like pros. They have a solid mix and balance of melody as well as just straight up headbanging savagery. They’re like the Swiss version of Yin and Yang. They balance out very well, making for a great listen, one filled with wonderment, beautiful song writing, hypnotic melodies, dizzying guitar solos, and even neck snapping riffs. During a lot of the songs you get chugging death metal sounding riffs at times, only to be spun back around to have a lighter riff thrown at you. And the thing is, even the heavy death metal sounding riffs are melodic and not over powering which fits well and accompanies the rest of the music perfectly. Everything here fits so well with each other. The songs are cohesive, tell great stories, and are entirely captivating. From the aforementioned riffs, the precise drumming, the great keyboard work, the thick bass, and the honey sweet vocals, Redemption belongs in your collection. This album really does have it all, and is an incredibly impressive debut into the metal world. Welcome Atomic Symphony.


a3640154980_16 Poured Out are from the good o’l U.S. of A, and play some devastatingly harsh hardcore. Blind Heart is their newest album that is jam packed with heavy window shattering riffs, elephant heavy bass, and maniacal screaming. Through the five songs here, Poured Out make it there goal to suplex you into the cement. Each song is delivered as if you are going five rounds in the cage with an MMA fighter. The punches they pull are heavy and each song goes directly for the knock out. There is no dancing around like that fake boxer Floyd Mayweather. That’s right, I said it, he’s fake, and the bass heavy album that is presented here by Poured Out could go toe to toe with him. Hardcore is named hardcore for a reason. Hardcore as a genre is the equivalent of a wrecking ball, and “Blind Heart” goes for that wrecking ball attitude and succeeds well at it. With just five songs on this effort, they are all heavy, the run times are relatively long making for a pretty substantial release. The riffs are deep and appropriately down tuned, the bass is filled with plenty of explosiveness, the drums nose breakingly heavy, and the vocals are screamed at you making you feel like you’re the person that these guys are disappointed in. Overall the five track release is a good time, one that brings the pain, and just is a good listen overall.


a0906749667_16 To end this list will be Indonesian brutal death metallers Chalera. This promo was released just this year in July. If you are familiar with the brutal death genre, the more perverse you are the better. Chalera check off every box on the brutal death metal application. They’re gory, visceral, brutal, and they supply gutturals that are just as destructive as the music. There are only two songs here on this promo so not a lot to go off of. But from these two songs you can tell Chalera are out to stack up as many corpses as possible. Maybe I should recruit them for my Cadaver Garden since I’m sure they’ve got plenty laying around, and I need help with fresh new cadavers for my garden. Anyway, Chalera supply the heavy and lower the boom with these two songs. They’re fast, explosive, and don’t hesitate to rip the flesh right off of your bones and drink the marrow afterward, then they’d be on to their next victim never stopping until they have warehouses full of bodies. The riffs are chunky and cleave like a butcher knife, the drums supplied leave you full of lacerations and bruises, and the vocals sound like a demonic toad, and that toad doesn’t eat flies but instead eats humans.


I hope this week’s Album Round Up has supplied enough heavy metal meat for you sick perverse people to munch on. Enjoy!

Under Fetid Corpses: Archives of Carnage

September 18, 2015

a2068301711_16 Hey there you filthy animals! Is gore what you seek? Do you drink buckets of blood in the morning instead of coffee to get you going? Do you like music that is visceral and can take your head off in one foul swoop? Well if you checked the box next to any of those questions, then this album is probably for you. Under Fetid Corpses hails from Portugal, and is one of many sickening acts from Portugal. Archives of Carnage pack in thirteen ripping songs, and just from judging from their name and the perverse art work-as well as my questions above-you can pretty much deduce what these guys are all about, and that would be sickening perverse acts of violence and death.

Archives of Carnage was released earlier this year, and as I mentioned above there are thirteen songs that are held captive within the CD case walls. The album is short for there being thirteen songs, but these songs are very short with the longest song being one second over two minutes.

With this album blowing by you in a blink of an eye, Under Fetid Corpses really need to put on a show and the show needs to be the equivalent of someone strapping you to a chair duct taping dynamite to your chest and having you explode in bloody carnage. That should be the goal for this album, and that mark is hit relatively quickly.

I will admit, nothing on this album is ground breaking and you won’t find anything on here that no one else is doing. With that being said, if you’re just looking for that dynamite blast and buckets of entrails, then Under Fetid Corpses is your band.

Right off the bat and from the charmingly named Intro(duction of Needles in the Meatus) that melts into the equally charming gore ballad Excretion of the Lacerated Foetus you get exposed to everything that Under Fetid Corpses is about. The rest of the eleven songs rip and tear and hack chunks of flesh off your bone whether you want to or not. I’d have to assume that you wouldn’t want your flesh ripped off, but this is forceful and you have no choice.

To solidify your demise the guitars blast and buzz like chainsaws, while the blasting drums sound hit you like a sack of hammers, and meanwhile the bass pounds away in the background. All the while in the foreground the vocalist growls and screams with the best of them, sounding like he’s being sodomized with a pitchfork(which in this case is a good thing, it’s a compliment). His gutturals are certainly monstrous, and to add variety there are some bile lined mids thrown in as well.

So as an overall, Under Fetid Corpses and their album Archives of Carnage reeks of maggot filled flesh, bile, and death. And as stated above, there is nothing here that is revolutionary, but if you’re not looking for an album that is revolutionary and you’re just looking for an album that will pummel your skull enough until your eyes fall out of your sockets, then Under Fetid Corpses is for you.

Descendency: EP 2015

September 18, 2015

11146567_10152842057322671_5979399777418967996_n Do you like thrash? Do you like playing air guitar like a complete maniac? Do you like things that shred and are unapologetic? Well do I have the thing for you! Descendency is a thrash metal band that hails from Delaware. This here is their EP they released this year which contains three songs of pure thrash. Good modern thrash is hard to come by mainly because riffs get recycled, and the genre in general hasn’t done anything new in ages. It’s stuck in a rut, stuck in a era when the issues they wrote about were relevant and no longer are now, and it seems as though thrash has been playing catch up with the rest of heavy metal.

Descendency isn’t exactly revolutionizing the thrash genre either, but they really don’t need to. What they do bring to the table is just some solid thrash metal that really gets your head banging, and honestly a lot of the time that is exactly what you need. This EP gets you moving and that is what these guys aim to do. They aim to get you off your ass and thrash around until you just can’t thrash anymore.

From the opener you realize that this is thrash through and through, there isn’t anything else thrown into this concoction to confuse you. This is one hundred percent thrash. It’s the thrash that is angry, and is aimed directly at your head. Descendency is an unrelenting speeding bullet until it hits its target.

Through each song presented here by these Delaware thrashers is the kind of music you want to listen to when you’re in a high speed chase with those damn cops. Instead of having turbo you have Descendency to boost you and your Pinto away from the fuzz.

The sonic assault begins from second one and doesn’t quit until the last note. The songs are fairly long in length which gives you plenty of time to whirl your head in circles and jam out on your air guitar. Each riff is played with intensity and with each shrapnel sharp riff there is a screeching and blazingly fast guitar solo to accompany it and you on your high speed chase through traffic. While the riffs assault your ear drums, the drums romp and punish your speakers.  There is one element that did stick out to me that I really enjoyed, and that was the obese bass you get to hear in the foreground. That’s right, the foreground. The bass here takes a back seat to no other instrument as it is entirely prominent and anvil heavy.

And as you crack under the heaviness of the bass among the other instruments you bang your head in glory because while listening to this over and over again you evaded the cops. This EP by Descendency does spit fire, and does make you want to bang your head and play your air guitar or air drums. While it is only three songs long, the three songs here are fun to listen to and entirely enjoyable.

Vhod: Dreamcleaver

September 17, 2015

VHOD_DREAMCLEAVER-album_cover Vhod is a project and one man band created by Chris Shaver, and Dreamcleaver is the debut for his newest band Vhod. Chris has worked independently on bands such as: Godcursed, Morbid Darkness, and Worms of the Birth. When Vhod was first formed it was more of an instrumental band whereas  this new release adds vocal elements to the music. Dreamcleaver sports ten songs and the run time is pretty lengthy. To say that this release or this band is just death metal wouldn’t be fair, so with that being said I’ll put experimental in front of death metal because this isn’t just a straight shot of death metal.

Each song seems like an epic with some being a little over three minutes, and the longer songs spanning from five to seven minutes long. The ten songs here come together as a whole and the album never seems to misstep in making any of the songs seem out of place within the album. Everything works together as one cohesive, destructive unit, and to make it even more impressive is the fact that all of the instruments and vocals are done by one man.

The performance that Chris delivers here is solid and on point. No guitar riff wavers, no rhythm is out of place, no bass line is misplaced. Dreamcleaver is a carefully constructed and well oiled death metal machine. Not every song starts off with a sonic blast of death metal however. The song Dragon Sand begins with a thick bass line that melts in with some melodious guitar riffs that continue all the way through until about the four minute mark where the song turns and shifts its focus on sonic riffing and a shredding guitar solo. Obsequies which is the song just before the closer acts almost as an interlude to the final song. At first you hear a dissonant guitar riff which almost is like a solo and is soon accompanied by pounding rhythmic drums which last until the end of the song. As Obsequies fades out the song melts into the closer which is the title track Dreamcleaver.

Each aspect of the album Chris executes very well. There isn’t a song on here that is lacking something, there isn’t any space that is left over. Each minute of this album is packed with ripping and sonic death metal. With each song on here, every riff is played at mach five and embedded in every song is a shredding, string combusting solo. The drums are calculated and on point, ripping and smashing and played with fury. While the drums are impressive as they blast their way into your brain, and while the riffs are hyper and pin point, there is a lethal dose of bass that lines the songs with a thick buzzing. In fact, Dreamcleaver is bass heavy. You can hear it within every song as it does not hide from you, and even if it were trying to hide it doesn’t hide very well. On top of the expert musicianship are the vocals which as I mentioned above are also done by Chris. His vocals are powerful and he growls a pretty sizable roar. His roar isn’t so over powering that you can’t hear the lyrics, but instead it is controlled and suits the music very well.

Dreamcleaver isn’t just a blast that you would feel from a pulse riffle (Sorry, had to work that in at some point in a review). Vhod’s music is equal parts melodic. For every part that is blasting, there is its counterpart which is melodic and graceful. Vhod and the debut album Dreamcleaver shreds. It is a long endeavour, but it is worth it and worthy of a listen. Dreamcleaver bangs heads as well as melts faces, and isn’t that really what metal is all about?

Dreamcleaver comes out on November 13th this year through Inverse Records.

Tyrant Goatgaldrakona: Horns in the Dark

September 17, 2015

12Jacket_3mm_spine_all_sides.indd If you had any reason to doubt the come back of old school death metal, you should shove those doubts down your throat. Because it seems that the come back of the old sound is in full swing. Tyrant Goatgaldrakona is from Hungary and formed in 2009 to decimate everything and everyone in their path. If you did not get the hint, they play an old school style of death metal. With the new death metal sound that is crisp and tight and at certain times  over technical, the old school sound is a refreshing breath of putrid air. It’s not that the music isn’t technical because it still is, it’s just that the overly polished sound gives way to a more grimy and dirty sound.

With Tyrant Goatgaldrakona and their new release Horns in the Dark all of the grime and slime is there. The production is spot on for an old school release giving it that extra fresh out of the crypt sound. And mind you, this release spares no one. There is no fluff, no filler and no B.S. to go along with it. What you see is what you get. From the gritty artwork done by Mark Riddick to the very final song of this album, Tyrant Goatgaldrakona ooze death metal.

With this new release of theirs comes seven songs of sickening blasphemy. With the seven songs and with two songs that clock in over the six minute mark coming at the beginning and the end of the album, Horns in the Dark is a sizable album. It flays your flesh and strips the skin from your bones just like any good death metal should do. And just like a band that came around in the 2000’s playing old school death metal should do, Tyrant Goatgaldrakona raise the dead and pay homage to the forefathers before them.

Throughout the twitching mass of flesh that is Horns in the Dark you are succumbed to darkness, and accosted by a blitzkrieg of death. The seven songs that are presented here waft through the air just like the stench of death would when you open a casket from thirty years ago. But in that casket instead of finding a body, you find Tyrant Goatgaldrakona.

The album works double time banging your head and raising the dead. Horns in the Dark is nothing short of pummeling. In fact the songs only slow down when needed, but for the most part they are sonic assaults aimed to bulldoze you into your freshly dug grave.

From the seven minute opener The Mountains of Irkalla, Tyrant Goatgaldrakona establishes pretty quickly that they are here to leave a bloody waste land of corpses. Everything that follows The Mountains of Irkalla follows suite in its destruction. The guitars are buzz filled, but not too thick. They’re fiery and poisonous and more than once in a while they belt out a screeching guitar solo. The guitars can’t work alone however, so they employ the drums to smash in your face with sledge hammer like heaviness, and machine gun blasts. Giving each song more support and fire power is the bass, and much like everything else on this album, the vocals that are spewed forth are thick and corrosive. The vocalist growls a deep throat scraping death growl that is sure to crack some head stones.

Through and through, Tyrant Goatgaldrakona and their latest offering to the damned bleeds and oozes death. The band and this album have a deathly charm to them, and if you are a fan of death metal in general this is to be added to your collection.

Horns in the Dark was released 2013 and the repress of the album was released June 15th of this year through Caverna Abismal Records.

Mord’A’Stigmata: Our Hearts Slow Down

September 16, 2015

MAS-OHSD-FRONT Generally with three track albums there isn’t a whole lot to go off of, there isn’t a lot of material. With Mord’A’Stigmata and their new release through Pagan Records titled Our Hearts Slow Down three songs is plenty enough. The entirety of this album is runs around the thirty minute mark. There is plenty to venture into here, and these black metal masterminds make sure that you have plenty to sink your rotten teeth into. Through one listen it is quite impossible to pick up on everything that this release has to offer, and through each listen you find new things that you did not hear before. On Our Hearts Slow Down you get everything and the kitchen sink. You get black metal which is the main staple, you get experimentation, emotion, atmosphere and ambiance among other things.

There are not a lot of bands out there that are quite like Mord’A’Stigmata. You can try to pin some other names to them, but not a lot stick. The unique way in which they play is unmistakable, and with this release it is no different. A lot of albums with minimal songs but long run times can be exhausting and some may not keep  everyone’s attention for the allotted time, but Mord’A’Stigmata do neither of those things. They are not exhausting and they do a good job of keeping you interested.

The music flows so well that even during the slower parts of each song, you wait in anticipation for the next thing to happen whether it be a furious blackened riff or a dissonant scream of the vocalist. Whichever it may be, Our Hearts Slow Down is captivating and mysterious. Not every single moment is pure black metal which is where the experimental side comes in. Instead of always being a cold bitterness, Mord’A’Stigmata lighten up the songs and give more ambiance and atmosphere to them by slowing songs down and giving the listener more to soak in.

And soaking in really is the correct approach to something as vast as this. Casually listening probably isn’t your best bet if you are truly wanting to get to know this release. Immersing yourself in the music is the best option, and if you do you understand the full gravity of the album. Our Hearts Slow Down isn’t an album that is meant to be listened to once, and taken at face value, instead it is of the variety that needs to be listened to more and looked at from all sides.

As mentioned above, these Polish black metallers are captivating and mysterious as well as harsh and abrasive when needed. You never want to be fooled by their mystique for too long, because as the more inviting atmospheric melodies fade out, the harsher soul darkening music takes over. The opener The Mantra of Anguish begins with a steady drum beat which soon becomes accompanied by dissonant guitars and harsh vocals. The guitars always stay there and are more on the lighter more melodic side of the spectrum. Where as the second song Those Above opens with a sonic assault of black metal in its rawest form. Each song including the last song which is the title track does a great job of balancing out the raw black metal with a softer approach to the music, making it more approachable on one side and just as jagged and raw on the other.

Through each song as I keep mentioning you get a mixture of a lot of different elements that play a part into making this album into what it is. The riffs are cold and poisonous at times, only to break down into a slower paced riff that lures you in further to the music, only to be blasted once more by sharp and hyper riffs. Drums pound away as harsh as ever but are no more tumultuous than needed. Behind the guitars and drums is a bass that hums and rumbles making itself very noticeable and present. With the musicianship being as on point as it is, it is easy for Mord’A’Stigmata to transition from the harsher side of the music to the lighter.

Other than the spot on musicianship that is portrayed throughout these three songs, there is the emotion that goes with it. Now don’t be afraid of emotion, especially when an album such as this can make you feel different things all at one time. At certain points you get a hint of a more melancholy style of play, and at others you experience an aggression that wasn’t there before. Other points within the album may make you feel isolated and cold, and others are more inviting.

The bottom line here is, Our Hearts Slow Down is a great release and it is one of intrigue, one of mystique, and one of power. Our Hearts Slow Down is relentless in its efforts to captivate your mind and make you listen to every word, and every note that is on this album and it is well worth the time.

This album will be released through Pagan Records on the 25th of this month.

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