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

Cowards: Still

October 20, 2016


When it comes to hardcore, the sound that you expect to get is violent and in your face, and with Cowards that is exactly what you get and then some. Still is the name of their newest EP and if offers up five total songs, three being original and two being covers. Throughout this release you get five songs that are incredibly punishing and in your face every single second that you are listening. Cowards unleashes a relentless and vicious attack in the form of this EP and you will be lucky if you get out of a listen with your bones unbroken.

Cowards starts this EP off with the title track and from then on they roll song after song and while listening you feel as though you have been struck repeatedly by a sledgehammer. Each song-including the covers-is violent and beats you down leaving you laying in a pool of your own blood. Still is a powerful and destructive EP that levels just about everything that stands before it and breaks anyone else who stands in its way as well. Each song is sordid, filthy, gritty and bombastic enough to knock your teeth down your throat, so if you aren’t careful you may be toothless at the end of one rotation.

These heathens hammer away at you with murky and sludge filled riffs that are coupled with heavy and earth shaking bass lines, tumultuous drumming and vocals that sound as though they are barked and screamed at you directly in your face. Still is a violent, aggressive and harsh listen that gets you headbanging until your brain bruises right off the bat. The overall sound is raw, destructive and anvil heavy and with a little bit of sludge mixed in with the punishing hardcore elements, you get a sound that is murky, thick and filled with plenty of anger.

Still is a vile and grime filled effort that gives you just enough to listen to until their next full length comes about. This EP provides you with a bruising sound that gets you to come back for more and more punishment. Still is a great offering that gets you engrossed early and headbanging early and often.

Still will be released December 2, 2016 through Throatruiner Records and and Terrain Vague for vinyl and Deadlight Entertainment for CDs.

Check Cowards out on Facebook and throw them a like!

Vermin Womb: Decline

October 20, 2016


It would be an understatement to say that Vermin Womb is heavy. They are in fact heavy, but the word itself doesn’t do the band any justice. Neither do the words filthy, grimy, punishing or any other word that you can think of that can describe what Vermin Womb is. However, no matter what you descriptive word that you decide to tag them with, one thing is for certain, Vermin Womb knows how to provide you with some of the most punishing if not the most punishing grind that is out there right now. Their newest effort is titled Decline and it is filled with ten songs of pure grinding madness.

From beginning to end Decline punishes you any way and every single way that it can. Vermin Womb doesn’t skimp on the brutality as they feed you straight into the wood chipper right from the get go and don’t let up until the final note sounds off. Decline is a pure grinding onslaught that if given the chance-or even if it isn’t given the chance-it will grind your bones down to pure dust. Vermin Womb knows how to play one speed, and that is mach five, and even when they slow down it’s only for a second before they pick it back up and grind your head against a circular saw once more.

There isn’t a song on this record that isn’t punishing and completely spirit breaking. Each song is an explosion of hate and aggression and much sooner rather than later you feel as though you have been through the wringer numerous times. Decline is a complete aural and sonic assault that you don’t have any chance of slowing down and never mind slowing it down, but you don’t have a chance of living after listening just once. Every song is just as shredding and bone grinding as the last and Vermin Womb doesn’t stop until you yourself are ground up into a disgusting paste.

Decline is one fuck of a devastating album that pulverizes you without a first or second thought about it. This record is wonderfully grim and purely filthy and grimy which is exactly how grind should be. Throughout this release you get assaulted from every angle by sickening riffs, massive bass lines, rib cracking drumming and manic screams that are bellowed and barked at you from all sides. Decline is not an album for the faint of heart and if you go into this record thinking that it won’t be as brutal as I have described it to be, you may not last very long.

This release is one for any grind or extreme metal fan and if you are a fan of this type of music, I suggest you keep your eyes peeled for this release. Decline is a grinding madhouse of apocalyptic proportions and it is one fuck of a great listen.

Decline will be out October 28, 2016 through Throatruiner Records and Translation Loss.

You can find Vermin Womb on Facebook and throw them a like!

Blood Tyrant: Aristocracy of Twilight

October 18, 2016


Very heavily and firmly planted in the vein of old-school black metal is Blood Tyrant and bubbling up from the murky depths with them is their debut full length Aristocracy of Twilight. There isn’t anything within this release that isn’t black metal and there are no other genres in any song that take away from the raw and natural sound that Blood Tyrant provides. Aristocracy of Twilight is black metal through and through and if it could bleed I’m sure that it would bleed black as well. Each of the seven songs on this record are just as sinister and evil as the last and just after one listen you will be lucky if you haven’t been damned to hell.

After a two minute plus intro Blood Tyrant pile drives you straight into the blackened onslaught. After that there is no turning back as Blood Tyrant punishes you repeatedly with blitzkriegs of blackened fury. One song rolls out right after another and this release really gives you no time at all to breathe or catch your breath throughout. After the intro you end up getting thrust straight into a maelstrom of blistering black metal that doesn’t let up until your soul has been skinned and you have been buried in a shallow grave out in the woods.

Aristocracy of Twilight is a straight shot of black metal that has been tapped right into your veins. This album is an onslaught and seemingly on a mission to damn all of those who oppose it. Aristocracy of Twilight is a vicious and utterly barbaric release that assaults you with venomous serpentine riffs along with gravel filled cries that pierce your ear drums. To make this record even more sinister and monstrous, this album is pretty bare bones and stripped down to provide a raw feel. There is nothing fancy about this release and the production is done just right to give each song as well as the album that much more of a bite.

Not only is it the musicianship and the production that makes Aristocracy of Twilight a deadly release, but the atmosphere that Blood Tyrant provides makes this effort that much more poisonous as well. Blood Tyrant provides you with haunting and chilling sounds in the background of each song that make you feel isolated and completely and utterly abandoned. The atmosphere is subtle and not over powering or in your face every second of every song, but it is there and it will crush your spirit all the same.

Aristocracy of Twilight is an album that is damning, soul stealing, very venomous and overall just a great listen. This is a great debut and is packed with plenty of blasphemous metal to summon Satan to.

Aristocracy of Twilight will be out December 16, 2016 through Iron Bonehead Productions.

Check out Undying Iron Will.

You can find Blood Tyrant right on Bandcamp.

To find everything Iron Bonehead Productions, check out their website and you can throw them a like on Facebook.

Sol Sistere: Unfading Incorporeal Vacuum

October 17, 2016

Hailing from Santiago, Chile is Sol Sistere and above is their newest offering titled Unfading Incorporeal Vacuum. This release is comprised of eight songs that are packed with nothing but atmospheric black metal. Unfading Incorporeal Vacuum is an onslaught and soul shredding effort that doesn’t quit until you have been damned to the eternal pits of hell. This record is powerful and each song is just as atmospheric and bleak as the last and the more that you listen the more you sink back into the deepest recesses of your mind from which you may not be seen again.

The tone is set early in Unfading Incorporeal Vacuum as the opener Death Knell provides you with a dismal and cold intro that eventually turns into a blistering black metal anthem. That tone of despair, emptiness and damnation gets set early and holds true all throughout this record. After that brief intro there aren’t too many places that you will be able to find solace as each and every song is a blackened dirge of pure soul shredding black metal. Sol Sistere doesn’t let up for a single moment as they roll out one song after the next and pummel you straight into the earth and eventually into hell.

Unfading Incorporeal Vacuum is a cold and twisting album that makes you shrink back into a dark corner of your mind until the album finally pushes you off the edge. Sol Sistere has created a sound that is both vicious and melancholy all at the same time, so as you are being attacked by demonic screams and writhing riffs you sink into despair all at the same time. Each song is a writhing blackened mass of metal that has every intention of banishing your soul to hell for all eternity and then some. Unfading Incorporeal Vacuum is a heavy and uncompromising album and once it has sucked you in you end up staying for quite some time.

On top of the scorching and punishing musicianship Sol Sistere provides you with great amounts of atmosphere as well. The atmosphere provided is just as deadly as the raw and punishing wall of blackened noise. Throughout this record you get enveloped in a dark, bleak and abyssal fog and each song gets your mind to wander throughout cold and abysmal soundscapes. Sol Sistere does a great job of not only getting your attention with pure and blistering black metal, but they captivate your attention and make you stay all throughout a listen with their damning, bleak and melancholic atmospheres as well.

This record holds you as its audience until the final note has sounded and when that note is finished you end up reaching for the play button again. Unfading Incorporeal Vacuum is a captivating, smooth and well executed album that is ultimately hard to stop listening to. This is a record that has just about everything in it that you could want in an atmospheric black metal release. Unfading Incorporeal Vacuum is heavy, crawling with atmosphere and completely memorable, and that makes for a great album and a great listen.

Sarcoptes: Songs and Dances of Death

October 16, 2016

Sarcoptes is a band that sounds like they should be from anywhere else other than California, but that is exactly where these blackened death heathens hail from. Songs and Dances of Death is their newest offering as it was just released in April of this year, and this album includes six songs of blasphemous metal. Each song is twisting, sinister and purely evil sounding and the more you listen, the harder it is to peel yourself away from your speakers. Sarcoptes rolls one song right after another in a blistering assault of skin shredding and soul peeling blackened death metal.

Not only does Sarcoptes mix black metal and death metal together, but they combine elements of thrash as well as symphonic elements to give you a complete and immersive listen. Songs and Dances of Death grabs you by the throat immediately never to let you go until the final note has sounded, and even when you think you are done listening you come back for more blasphemy. This release has a way of pulling you in and and keeping your attention all throughout until its conclusion. There isn’t a song on this record that you feel you need to skip or feel you want to skip as this entire record is a solid offering of skin scorching metal.

Each song is just as dark and twisting as the last and the more that you listen the more that you become engrossed with the music. There is a lot that is crammed into each of the six songs that make an appearance on this record and there is plenty to listen for. Each time around you find something new that you didn’t hear previously and when you give it another spin you still find something that you originally didn’t pick up. Songs and Dances of Death is a large album that demands numerous listens out of you, and even though the songs are fairly long in length, they never make you feel as though you are listening to a ten minute plus song when it comes up.

Songs and Dances of Death is played at a blistering speed that gets you up and headbanging until your neck snaps and even well beyond that point. Each song is riddled with blistering riffs and downhill drumming that gets your head spinning right off the bat. But, not only does Songs and Dances of Death provide you with blood boiling songs, it also provides you with plenty of atmosphere as well courtesy of the keyboards that you can hear in the background. The symphonic elements provide you with a theatrical sound and atmosphere that adds to the already morbid and sinister sound.

There are layers upon layers in this record and with each listen you will find something new that you didn’t hear before. Songs and Dances of Death is a complete and solid record that keeps you interested and listening all throughout, and as mentioned before, even though some of the run times are on the longer side, you never feel as though you are listening to a lengthy song. There is a lot to really enjoy about this record and this is really a very great listen.

Songs and Dances of Death will be out on cassette this Halloween through Graven Earth Records! Songs and Dances of Death is already out on CD through Cimmerians Shade Recordings!

Featured Interview: Hooded Eagle

October 16, 2016

Just recently I was able to interview Hooded Eagle and ask them a few questions, and they were awesome enough to take the time and answer them for me. The entire interview can be seen below!

Can you tell a little bit about how Hooded Eagle came to be?

Lynn: Hooded Eagle was formed when the guitarist (Lee Christenson) and
drummer (Mark Appelt) from the band Sonant decided to continue playing
music together after their band broke up. I think it was initially
supposed to be an Isis-style post-metal band, but when they asked me
to join, I started writing music and immediately fucked that plan up.

Matt: Not long after the band’s inception I was given an opportunity
by Lee, Lynn, and Mark to hop on board as the second guitarist. Though
Hooded Eagle did not “come to be” as we are today for some time after,
in my opinion.

Bobby: Agreed. I used to play in numerous bands/projects with Lynn
when we were growing up together in Atlanta and we both played death
metal with Matt in 2007. I was a fan of the band and was asked to join
after they had a falling out with Lee.

When you were just starting out as Hooded Eagle, did you always
have this unique brand of doom or did the sound naturally progress
into what we hear now?

Lynn: We initially had two different guitarists, only one of whom
wrote music (Lee). I wrote one song (which appears in a rather
different form) with the original guitarist, and the current sound
immediately started to evolve. As Matt and Bobby joined, in 2010 and
2012, respectively, we became significantly darker and heavier with
each step.

Bobby: The post-metal vision of Hooded Eagle ultimately met its doom,
pun intended, when Matt came aboard. As I was a fan of and friends
with most of the band, I watched the progression towards what you hear
now unfold at their practices and shows over the years and always
thought ‘I really want to be in this band!’. And here we are now.

Matt: Progress happened little by little. With each new song, we broke
down little pieces of creative barriers that tried to keep the band
sounding a certain way. We will never stop progressing. I think the
material we are working on now is easily the most honest and
creatively uninhibited work thus far.

If there was a different sound than what we hear now, what made you
stick with the sound that you have currently?

Bobby: The band was being pushed in a different direction well before
I was asked to join. I helped them embrace the ideas they had already
been crafting more fully after my style of writing and vocals were
introduced into the fold.

Matt: Whoever said anything about sticking to a sound? The four of us
really get into exploring the seemingly countless avenues the world of
extreme metal offers. As I touched on earlier, we are more focused on
writing freely and honestly. While not entirely unrecognizable, our
newest material is in many ways a departure from the sound and feel of

‘Nightscapes from the Abyssal Plane’ is absolutely massive as it
sports lengthy run times and looms large over the listener. Was that a
conscious effort to create an album this massive or was it more

Bobby: As a band, we like to ‘feel out’ the structures of our songs.
Careful consideration is taken as to how and why we build into the
next part or where we should change the mood; creating atmosphere is
an integral part for sure. We eschew standard ‘rock’ songwriting in
favor of a classical approach, relying on movements instead of a
standard verse or refrain, even more so now than in the past. Though
we did want ‘Nightscapes’ to be massive and consume the listener, our
songwriting has never been rooted in writing epics for the sake of
epic. It needs to feel organic above all else. We have always been
willing to take anything we write to its utmost potential regardless
of song length.

Matt:  While the ‘Nightscapes’ concept guides listeners on an epic(ly
long) journey brimming with terror, despair, and menacing darkness,
the album simultaneously takes listeners on a second, very real,
creative journey. The first and last tracks on the album were written
years apart from one another with a member change in the mix to boot.
We didn’t want to leave anything behind.

And can you tell a little bit about the writing and recording
process for Nightscapes?

Lynn: The album was written, both musically and lyrically, over a span
of years. I wrote really painful, personal lyrics that weren’t
connected outside of their lyrical mood. When it came time to make the
album, Bobby and I realized that, in changing the order of two songs
from where they were written, they essentially told a story of descent
into madness. After that was done, we wrote the last song on the
album, “The Sleeper…”, and realized that a Lovecraftian concept
would work really well, overlaying the personal tale that already
existed. At that point, we did small re-edits to make everything fit.

Bobby: Matt and I recorded guitars at the same time to give the
guitars a live-feel, and did this amidst candlelight in the middle of
the day, throwing sheets over the windows to block out the sun. We
spent a week in Monroe, NC, with the very talented Marshall Wieczorek
(Wretched), pulling twelve hour days and barely sleeping. The studio
is in almost utter isolation so it really made workhorses out of us.

Matt: We’d be lying to say we had all of the material for Nightscapes
studio ready for the week the band spent recording it. Marshall’s
wizardly command over the sessions and our determination to get it all
on record saw everything but the vocals completed. Being the Scott Ian
in the band certainly had its perks.

Lynn: Tracking was interesting. We spent six days tracking all of the
music, which left a single day to cut vocals. With the stylistic shift
presented on the album, the guys were really pushing me to take my
vocals to an entirely different place than I previously had. I just
got wasted on Jager bombs all day, trying different screams. When the
guys finally heard something they liked, it was on the one try I had
purposely screamed from my throat, rather than my diaphragm. I guess
it just had the right amount of pain or something, but they loved it,
so I kept going, and entirely blew my voice out. By the end of the
day, I could barely speak, much less scream. When we got the initial
mix back, the vocals sounded TERRIBLE. I drove up to the studio every
few weeks re-tracking vocal takes, but never being really happy with
the results. Finally, six months into this process, something just
clicked. I got the right sound, the right way, and re-cut the majority
of the vocals in two days.

Bobby: We were definitely unprepared to tackle seventy-eight minutes
worth of music in a week. In retrospect, crafting an album that long
without doing the necessary preproduction was ridiculous but, because
of this, you can hear the determination and stress we poured into it.
Vocals were the biggest obstacle because, not only did we not have
enough time to do them correctly, we made the assumption alcohol would
lead to the desired result and it really fucked everything up. It was,
accidentally, an act of good fortune because most of what you hear on
my side of the vocals didn’t exist until we received the initial mixes
and I realized we could push the concept further if I elaborated on
the story during parts that were originally instrumental. Despite it
being a pain in the ass having to drive back and forth from North
Carolina to recut/track new vocal takes over six months, it helped
push Lynn and I as vocalists/lyricists and I’d like to think it shows
on the album.

Not only is this album dark and sinister, at points, it seems to be
a little melancholic as well. What was at the forefront of your mind
when going into the writing and recording process?

Lynn: These songs are the first lyrics I’ve written since I was a
child, and I was at a TERRIBLE low in my life. All the songs started
off sad and heavy – it was Bobby’s influence that took them into a
more purely evil direction.

Bobby: I mean, it’s essentially doom with visceral black metal. If we
didn’t achieve a sense of emotional response then we weren’t doing it
right [laughs]. The melancholy was already present before I joined so
when I was given the task of writing the majority of the lead guitar I
wanted to take the music to a darker place and in doing so expounded
upon the already existing musical themes while adding a layer of dread
and sadness throughout.

Matt: Jamming a lot of Mournful Congregation, Evoken, Burning Witch,
Khanate and Cough during the writing of this record. Mournful
Congregation’s approach to doom is really appealing to me.

Horror, doom, and black metal all mix together very well as they
have on Nightscapes. What were/are some of the themes that you went
for when creating Nightscapes?

Bobby: Aforementioned, the only song fully written by the current
lineup on the record, ‘The Sleeper…’, served as the catalyst that
turned it into a concept album. Lynn and I wrote its lyrics around
H.P. Lovecraft’s Cthulhu mythos, which was, seemingly, a departure
from the dominantly personal feel of the songs. But with Lovecraft’s
underlying theme of human despair in his writing and Lynn having
recently rewritten lyrics for a song basing it around the
supernatural, we found it appropriate to apply the subject matter
overall. I, vocally, took on the role of Cthulhu speaking to Lynn’s
character or as an extension of him that had been pushed past the
threshold of his own psyche.

Lynn: From the very beginning, entirely on accident, no matter what
the lyrical theme of a song, I would always, apparently, die at the
end. Whether it was a personal song about self-loathing or loneliness,
or a sci-fi horror song, the narrator/protagonist/I would
unquestionably have left this existence. I’ve always included both of
those elements – the personal and the supernatural. Bobby has always
had a very clinical take on his lyrical subjects – very objective-
whereas I have always written very subjectively. The interplay of the
two leads to an atmosphere that seems to cover all the every negative
feeling out there.

Matt: I’m not much of a lyrics guy. Are they metal as fuck? Yeah? Cool
with me! Musically, dark and heavy with some atmosphere was the
mindset thematically.

Nightscapes is undeniably heavy and abyssal and a lot of that
heaviness comes from the different genres-namely black metal- that you
inject into your music other than doom. Did you plan to have different
genres mix with the doom, or did it naturally happen?

Lynn: When I joined, the band (the original two guitarists and Mark)
had recently decided to cut a USBM style riff from the outro of “No
Goodness”; so when Matt, without that knowledge, proposed a black
metal riff to open ‘I Have Dreams…’, everyone was on board without

Matt: Incorporating a black metal movement in ‘I Have Dreams’ was an
experiment in a sense. I suppose it was planned though I don’t know
that “inject” is quite the right word for it. Each part or movement of
the song is inspired by the one before it. The way a song begins is
planned while the progression of the song is more natural and

Bobby: Back then Lynn wanted me to write lyrics and record guest
vocals for ‘I Have Dreams…’ because of my immense love for black
metal and the fact my vocals have always been rooted in that style.
Though they had already started incorporating black metal beforehand,
I helped push it further into the band’s sound by suggesting changes
in certain movements, to make them more evil-sounding, along with some
of my lead guitar parts. The sheer amount of music we all listen to,
extreme metal or otherwise, definitely plays a part in how we write so
I would say it is natural that we genre-hop.

As you have mentioned to me previously, you will be heading into
the studio to begin recording a follow-up album. What can we expect to

hear from your next full length?

Lynn: The new album is, like the first, a concept album. All of the
songs were written to work towards the same musical theme, whilst
moving about as far in every direction as is imaginable. While there
are unquestionably still the enormous, lumbering riffs that people
have come to expect from us, the new material removes the emphasis on
droning, and also removes much of the melancholia heard on the first
album. The atmosphere is unquestionably more evil. If the first record
could be described as “dreamy”, the new material would probably be
more hellish.

Bobby: The overtly melodic aspects are still present along with our
blackened doom aesthetic but neither are executed in quite the same
way. The change results from this being the first time we have written
an entire body of work together, considering ‘Nightscapes’ has riffs
written by the former guitarist across the album. Everyone pushed
themselves beyond their abilities, the band not only growing as
musicians but as songwriters in general.

Matt:  We utilized the “fuck yeah!” litmus test when writing for the
new album. While never straying beyond the extreme metal realm our
collective influences are really diverse so as long as an idea got a
“fuck yeah!” it was fair game.

Nightscapes was an incredible jumping off point. What can you take
from that album and apply to the next, and what do you hope to expand

on with the next release?

Matt: That is a high compliment. It means a lot to us! Thanks! We
learned quite a lot from Nightscapes both as individuals and the band
as a whole. From songwriting to the recording process and beyond, the
next record will be a much more fluid and focused project.

Lynn: I think the first album taught us that we really shouldn’t be
afraid of exploring whatever we want to musically. You never know how
people are going to respond to heavy black metal, especially with as
droning as much of the material can be, but no matter what elements we
throw in, people who like the band seem receptive. So, there are
definitely all kinds of things that are hinted at (death metal,
hardcore, gothic metal, thrash, funeral doom) that get a lot more
attention, despite the shortened runtime.

Bobby: After we finished recording there was a strange period of time
where we had to rediscover Hooded Eagle’s sound. Most of the songs
presented on the album were years old by the time I joined, and
despite my proposal of a few new ideas, we had to learn how to write
together because all I had done beforehand was flesh out existing
material aside from two songs written by all of us. We definitely
trashed a few fully written songs because they were too much like one
genre or another. The end result was us creating metal that we wanted
to hear instead of adhering to a specific subgenre.

How will your approach to the next release be
different-if-at-all-from your approach when creating ‘Nightscapes’?

Lynn: Lyrically, I wrote the majority of the first album as the songs
were written. Once that was done, Bobby went through and filled in the
gaps. For this album, Bobby and I are collaborating with the lyrics,
which we started after the music was done. Musically, we went into
this one with the knowledge that we were doing another concept record,
so we kept a musical vein running through all the songs.

Bobby: Without giving too much away, we are approaching a gothic
horror concept in lieu of the sci-fi horror that has been a constant
for most of the band’s existence. Lynn and I will also be sharing all
of the vocal duties this time around instead of there being a
predominant lead vocal. What will be similar to the first record is us
retaining our call and response type of lyrics/vocals. It will be
different in the respect that I will not be speaking as him during the
narrative so we will have separate characters for the entirety of the
album instead of me occasionally reflecting his point of view. He will
also be acknowledging my presence instead of me being just a voice in
his head as per the previous concept.

Nightscapes was terrifyingly immersive and provided the listener
with plenty of nightmare fuel. Will the forthcoming album have the
same kind of sound, or will it be something different that we haven’t
heard before?

Bobby: To directly answer your question, yes, there will be an
abundance of nightmare fuel on the next full length. Lyrically, you
will certainly get the horror that you would expect from us, as I
previously mentioned and musically there will be an emphasis on
dynamic shifts, more fluid movements, and dissonance with a lot more
riffing. The pace is somewhat faster as well compared to the sprawling
soundscape on our debut.

Lynn: If anything, those are the elements that we’ve accentuated on
the new album.

Before recording, is there certain criteria that you have to meet
for yourself before you begin recording any material?

Bobby: The first album was a learning experience and we are currently
trying to improve upon the mistakes we made. We had arbitrarily mapped
out tempos and didn’t realize that certain transitions wouldn’t fit
into the tempo jumps we decided on. This resulted in us changing them
mid-recording or having to come up with new ways of playing parts all
together. Leaving enough time to focus on vocals is also at the
forefront. We will be taking a more professional approach, demoing
songs beforehand and making appropriate changes well before we get in
front of a microphone so we can spend our time focusing solely on our
performance and the recording process.

Matt: We have the capacity to demo our own material now taking our
preproduction light years beyond that of ‘Nightscapes’. Being able to
“try it before you buy it” will allow us to focus our studio time on
getting our best possible performances instead of sorting out last
minute road bumps.

When can we expect to see the new album come out?

Bobby: We are pushing for a spring/summer release but you will
definitely see it by the fall of 2017.

Before I wrap up the questions, I’d like to ask a few standard
questions. The first being: if you would be able to work with anyone
alive, dead or both, who would they be?

Bobby: Peter Tatgren, Mortuus (Daniel Rosten), Stephen ‘O Malley.

Lynn: Dan Swåno.

Matt: Nicke Andersson. That guy knows how to write a damn song.

What are currently some of your favorite records that you have on repeat?

Bobby: The original version of ‘Dusk… and Her Embrace’ by Cradle of
Filth, ‘So Far, So Noir’ by Subvision, ‘Paracletus’ by Deathspell
Omega, ‘The Great Annihilator’ by Swans.

Lynn: The new (old) version of ‘Dusk…’ has been getting a lot of
play from me, as well. ‘World Coming Down’ by Type O Negative,
Warning’s ‘Watching From a Distance’ and All Out War’s ‘For Those Who
Were Crucified’.

Matt: ‘The Grand Leveller’ by Benediction, ‘You’ll Never See’ by
Grave, and ‘Clandestine’ by Entombed.

To conclude, is there anything that you would like to add and say
to your fans?

Bobby: It has been truly astounding seeing ‘Nightscapes from the
Abyssal Plane’ receive such positive reception from not only our fans
but first-time listeners as well. We’re grateful to anyone that has
taken the time to review us, share us with their friends, and come out
to our shows. And special thanks to you, Mr. Harrison and Cadaver
Garden, for not only writing a glowing review of the record but
agreeing to do this interview. All of you will have our next abysmal
offering very soon and we can’t wait for you to hear it!

Matt:  It is an honor to make music for you guys. Thanks for listening!

Abysmal Grief: Reveal Nothing

October 14, 2016

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Just by looking at the cover of Reveal Nothing you can tell that what you are about to get is horrifying and entirely grim music and that’s exactly what is inside of this release. Reveal Nothing is a compilation of sorts that contains singles, songs from splits and songs from 7″ as well as one unreleased song. If you are familiar with Abysmal Grief then this is the release for you, and if you are just finding out about Abysmal Grief, this is also for you. Reveal Nothing is packed to the bursting point as it runs for well over an hour and is filled with eleven total songs for you to lose yourself in.

Abysmal Grief plays horror tinged doom that really makes you feel as though you are being haunted and watched by a spectral force. These horror fanatics do a great job of painting grim and haunted soundscapes for you as they envelop you in a thick and dreary atmosphere. Once you begin listening you become trapped in the dark and wondrous world that they create and sooner rather than later you figure out that you cannot escape from the ever shifting and twisting atmosphere. Every song on Reveal Nothing is intoxicating and highly memorable, and even with the long run times you won’t find a song on here that you would want to skip over.

Reveal Nothing pulls you into the alluring darkness and makes you stay a while and hang out with the spirits that seem to pour from your speakers as you are listening. This release is captivating as the musicianship is slick, the atmospheres are haunting and the soundscapes are wonderfully dark and dismal. No matter what you do these songs get stuck in your head and you find yourself wanting to listen more and more. Just about everything that you could ask for in a band and an album that plays in the vein of horror tinged doom is in this record and then some.

Not only does Abysmal Grief suck you into their music with all of the thick atmosphere that they provide, but they do so with the musicianship as well. These gents do a great job of balancing doom filled dirges with a more uptempo style of play that gets you headbanging faster. One moment you will be listening to the more uptempo style of play and the next they dive straight into soul damning doom. In the background to compliment the already sinister sound are keyboards that are instrumental in providing you with the cold and haunting atmosphere and the keyboards work seamlessly together with everything else to give you a cohesive and altogether terrifying sound.

This release gives you just about everything, and as mentioned before, if you are new to Abysmal Grief this is a great album to pick up, and if you are familiar with them this is still a great pick up. Reveal Nothing is over an hour of great horror tinged doom that really makes you feel as though a spectral force is watching you. This is a great listen that you just can’t listen to enough or simply get enough of.

Reveal Nothing will be out November 2, 2016 through Terror From Hell Records.

Black Oath: Litanies in the Dark

October 13, 2016


Under the bio for Black Oath they describe themselves as “cursed rock” and that really does suit their style of music perfectly. With the cursed rock mixed with elements of doom, what you get is a haunting yet rocking sound all at the same time. Litanies in the Dark is both dark and twisting and head nodding all at the same time. You rock out all while your hair stands on the back of your neck. Black Oath is a unique combination of rock and doom and that combination provides you with plenty to listen to and plenty to listen for.

Litanies in the Dark is a four track mini album that runs for just about twenty minutes, and within those twenty minutes you get sucked into an alluring darkness that you don’t seem to want to crawl out from. Each song on this release is smooth, shifting and dark and the more that you listen the more you don’t want to stop listening. Even with only four songs on this record, Black Oath makes you want more and to add to that want even more they leave you with a closing song that is only two minutes long that fades into eternal darkness.

One listen doesn’t do Litanies in the Dark justice as it warrants many more than just one. Right from the beginning Black Oath draws you in only for you to stay as you get into more listens and more rotations. This entire release is captivating and pulls all of your attention toward it and much sooner rather than later you become fully engrossed in the music and the ever twisting and smooth musicianship. Not one song sounds alike and since they all have a different sound there is plenty to listen for and catch the next time around.

Black Oath transitions between cursed rock and doom seamlessly as one moment you may be rocking out and the next you become submerged in the murky depths of doom. The cursed rock provides you with a heavy and biting sound as the doom provides you with plenty of thick and sinister atmosphere that you just can’t escape from. Litanies in the Dark draws you in with its heavy rock sound and makes you stay with its hypnotizing and sinister sound.

This mini album is just enough to tide you over but short enough at the same time to make you want more. Litanies in the Dark is four solid songs of doom tinged cursed rock that is highly memorable and intoxicating and ultimately you keep listening and coming back for more.

Litanies in the Dark will be out October 17, 2016 through Terror From Hell Records.

VVORSE: Näkyjä Helvetistä

October 13, 2016


New noise coming out of Finland comes from a band who calls themselves VVORSE and toting along with them they bring their debut full length titled Näkyjä helvetistäNäkyjä helvetistä translates into “visions from hell” and VVORSE do their very best to provide you with sounds from hell at the very least. Näkyjä helvetistä is a nine track album that is packed with hardcore and crust sounds with plenty of experimental sounds to go around as well. Generally hardcore bands don’t have songs with run times into the six or seven minute range, but VVORSE scrap that idea and pour those types of songs out with ease providing you with a diverse and unique listen.

Right off the bat VVORSE hits you square in the jaw with their opener Kaatopaikka and from then on they roll out song after song after song until you are a permanent fixture in the cement. VVORSE provides you with a harsh, pissed off and whiplash inducing sound that continues all throughout the record. Näkyjä helvetistä gets you headbanging and inciting riots early on with their adrenaline and fuel injected style of play. Even when VVORSE breaks out the sludge filled and more murky down tempo style of play it is still harsh and punishing.

Each song off of Näkyjä helvetistä is just like a punch in the mouth and after a listen you will be lucky if you have teeth left. All of the nine songs that make an appearance on this record are highly volatile and they have no problems with knocking you out cold. If the music itself doesn’t knock you out you may just do that yourself since from beginning to end you find yourself headbanging into oblivion. Näkyjä helvetistä as a whole is a chaotic maelstrom of razor sharp riffs and music that is overall destructive and utterly explosive.

When you aren’t getting completely beat down by the hardcore and crust elements that VVORSE displays, you get lost in the abyssal depths of their sludge filled dirges. VVORSE doesn’t slow the tempo down entirely too much, but when they do the atmosphere envelopes you and pushes you further to the edge of darkness. No matter whether you are getting your spleen ruptured from the devastating hardcore elements or you are being encased in an abyssal fog brought on by the seldom down tempo sludge filled moments, it is undeniable that Näkyjä helvetistä is heavy.

This is a solid debut that is heavy and provides you with more than just your standard hardcore and crust sounds. Näkyjä helvetistä is a unique listen that you want to listen to more than a couple of times as well as one that you can headbang to with brain bruising intent.

You can find VVORSE and throw them a like on Facebook and you can find this release right on Bandcamp.

Sacrificio: Guerra Eterna

October 11, 2016

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Hailing from Spain is Sacrificio and willing to sacrifice you to the dark lord is also Sacrificio. Guerra Eterna is the debut full length from these black metal heathens and within this record you will come across eight songs of pure blistering darkness. Sacrificio is black metal to the rotten core and there isn’t much else within their sound that can compromise that. Within each of the eight songs that are present within this record, each one of them is just as blasphemous and soul shredding as the last, and these songs won’t rest until you have been carved up, tossed aside and your soul has been swallowed.

When you begin listening, a certain darkness hits you immediately as it begins to tear you soul to shreds. Guerra Eterna is a dark, twisting and sinister listen and those three attributes are main staples of each song. All eight songs are injected with enough molten evil to take Spain over Spain at least five times. As soon as you begin listening, you become trapped in a vortex of utter soulless darkness from which you cannot escape. One song rolls on right after another and the only real break you get is when you reach the middle point of the album where a ritualistic interlude titled Depositio Haereticorum takes over but that’s about all.

Even after Depositio Haereticorum ends you get shoved straight back down into the pit ov hell with an equally short but still punishing song titled Ritos Funerarios. When listening, you just can’t escape the pure and utter blackened madness that Sacrifcio has created. The longer and the more you listen to Guerra Eterna the deeper and deeper you sink into an abyss where the flames are black and the darkness strips away all humanity. Guerra Eterna sounds as though it is compiled completely of banished souls only to be marinated in ever twisting and contorting darkness, and that is how black metal should sound.

Each song is filled with diseased and Satanic riffs that are coupled with heavy bass lines, tumultuous drumming and horde commanding and utterly sinister vocals. Peppered into each song are blistering guitar solos that bubble your skin and shred your face to pieces. To go along with the great musicianship is the raw production which brings the music to an even higher sinister plane. This release wreaks of evil and oozes molten blackness to the point where you may be stripped of your humanity and sanity all together.

This debut full length is one hell of a listen and is undeniably heavy and blasphemous. If there was a compilation of albums that you would be able to listen to as you descend to hell, this album would be on it. And not only that, but Guerra Eterna is an album that all black metal fans should want to listen to over and over again.

Guerra Eterna will be out through Iron Bonehead Productions and Nuclear War Now! December 9, 2016.

Check out the song Guerra Eterna.

You can find Sacrificio and throw them a like on Facebook.

Check out Nuclear War Now! on Facebook as well as Iron Bonehead Productions.


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