~Sacred Reich~Death Squad~
~Sacred Reich~Death Squad~
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Gatecreeper - Sonoran Deprivation
Latest addition to the vinyl collection. This album rips.
#NowPlaying Existence Place
Purwokerto 🇮🇩 Death Metal
here we go
"Vermin - Bloodthirst Overdose" New Black Metal
The best of Black Metal.
Do you? Do you miss it like I do? I miss it intensely. I miss the sweat. Maybe I can’t run around like I used to, I don’t think I can deal with that.. but I do miss the corners. Crispy and brittle.. banging away with fury. Hair flying everywhere!
Yo, So You Die is a highlight on this record and it brings back so many memories! I love a live recording when it doesn’t sound like a garbled mess and this is about as clean as a live metal recording as you’re gonna get especially recorded in a HUGE open-air stadium..
This brings me joy in the morning light. So jump in. The super group Bloodbath is just so fucking good. It’s all my faves: Katatonia, Opeth, Paradise Lost! Come on!!!!!! This is also their first live show and Mikael and Jonas in the same group is like insane to me..
Anyway, I’m geeking tf out with my coffee, here’s a clip of their show:
FIT FOR AN AUTOPSY - Far From Heaven (x)
Seattle 🇺🇸 Cascadian Death Metal
An indulgent display of tech-death, Xenosis have the know-how and talent to produce an album that is both insanely complex and insanely brutal in equal amounts.
Seasoned progressive/technical death metallers Xenosis are excited to release their fourth full-length, Paralleled Existence on October 1st, 2021. Active since 2009, the band’s upcoming album runs parallel to the bands biggest line-up shift in years, with the band adding a more groove/progressive music influenced second guitarist Keith Benway as well as new bassist, backing vocalist Craig…
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Released September 17th 2021
Runtime: 33 Minutes, 27 Seconds
Record Label: Everlasting Spew Records
Unction Of Muliebrous Birth (2:49)
Peryphlegethonic Mindflaying (5:10)
Thou Butcherer Of Human Folly (3:22)
Lurid Placeless Echoes (3:21)
Between Engorged Realities (1:43)
Concupiscence Of Frenzied Humours (3:24)
Tendon Pandentum (2:46)
Death Of Ratiocination (3:15)
The Soul’s Admonishment (4:39)
The Glory Of Woe (2:39)
Jared Moran (Drums)
Justin Blake Stubbs (Bass/Guitar)
Kenneth Parker (Vocals)
So here is a record I was looking forward to checking out for a while now, Everlasting Spew Records are on the rise lately and Occulsed’s debut album Crepitation Of Phlegethon is one such record that has been tentatively on my mind. The band formed recently in 2019 and hail out of Georgia, United States where they are championing this evil and lurking variant of death metal that is always a win with fans of old school death metal. Their 2019 Demo Cenotaph To Putridity paved their way for them before following it up with 2020’s gloriously dank and cavernous Ceremonial Lifelessness, but at long last their first full length record has dropped so let’s see what Occulsed are made of.
I appreciated how short the intro track here is, it literally means the word “intro” as it isn’t even 20 seconds long. It takes exactly as long as you’d want it to take before you’d want the main album to get started. When things do get moving though it’s just as dark and decrepit as the intro piece will have you believe it’ll be. In this way the band very quickly help you to associate with the intro track what the rest of the album is likely to consist of atmospherically speaking. What aids the band in this respect in opening the album to the audience, is that the album has this particularly old school and raw style of production going on which really speaks to that darkened and musky ambiance. If the band were to suddenly give us an album production that was suddenly far more refined and sharper than the intro piece it would create more than a few idiosyncrasies between the intro piece and rest of the record creating something that would feel off kilter and unbalanced.
That raw and dirty production quality is really what helps the band to create the nightmarish and hideous soundscape that you’ll hear throughout its runtime. Owing to the tone and soundscape of the production quality the record gives its instrumentation a far more perturbed and warped semblance than merely downtuning its guitar work to create some allusion to a heavier atmosphere. You don’t need to imagine what kind of atmosphere the band are attempting to portray, they picture it out to you pretty eloquently and in this case less is actually more. Now of course the band are going to throw a great deal of strength and might your way but it’s not like they’re just going to spam blast beats or guttural vocals all day long at you, you’d be losing attention by the minute so what they’ve done is to make sure things are ramped up with aggression yet keeping things wrapped up nicely and still amidst their particular control. We’ve got 11 tracks here totalling a 33 minute runtime so naturally you’re going to get some instances of full out rampancy however I like how the band still manage to maintain some reserve in keeping things within their grasp. The production quality instils a real malevolence to their ability to play quality, however by bringing things to a slower tempo the production is able to really amplify the inner evil and creeping fear that the band are capable of showcasing.
The guitar work screams that early 90s Suffocation influence whereby you can feel the weight of the riffs going into the songwriting and yet still feel the etching, ripping speed that is going on across those fretboards. It’s less a case of feeling the individual strums and riff segments coming at you and instead feel the full might of the collective guitar work do it’s magic. In these instances of raw and rapid fire offerings of guitar playing the band create a frantic yet evil sensibility as if you’re being pulled into some malignant maelstrom from which you’re unable to come back out from. Those moments where the band’s playing does slow down then isn’t merely for songwriting purposes but to actually give the audience those instances of reprieve, to catch their breath before the band inevitably subject you to yet another pummelling. It’s an old school vibe that’s pulled off rather well and unlike some bands that fail to utilise a retro production, Occulsed require zero effort to make their soundscape feel convincing. From the first track alone you’re immediately made at home amongst this new evil and it barely feels like you had to travel very far to get here in the first place.
Not only is the soundscape screaming that early 90s aesthetic but so do the drums. If you have any idea of what old school drums sounded like in extreme metal or from that period in time you’ll find that same aesthetic replicated near perfectly in the drumming offered herein. The drums don’t hit with that much massive impact or with any overly considerable mass of bass either, however they’re very good at regulating the speed at which the audience will interpret the rest of the band’s performance. As the band play at their faster speeds you can be assured that the drums will also not only be moving at more rapid pacings but they’ll help to bring the flow of the album to a greater speed as well. What the drums here lack in impact they more then make up in adrenaline and power. Considering the production as well you could say that the drums do feel a little drowned out by the rest of the instrumentation which I could argue for, but I could also say that the drums mesh with the rest of the instrumentation to such an extent that you couldn’t separate one element from the other; thereby it creates a more complete and inseparable picture of the album on the whole.
The final kicker for me atmospherically speaking are the vocals. I love how the vocals have pretty much just one main range and depth and pretty much just stay there for the duration of the record. Now there are moments where the vocals take on some more power here and there but for the most part they stay amidst one range, some people may not take to this all that well and deem them a little dull and uninteresting however I personally love this traditional and uninteresting approach to them. They serve a great atmospheric element to the album and really pull you into the rest of the record where the instrumentation can do it’s work on you. What’s more is that the vocal range is always quite low, it’s low in pitch and depth which only continues to establish the record in a wholly realised and complete picture as opposed to being segmented apart into individual components.
My favourite tracks off this record are Peryphlegethonic Mindflaying, Concupiscence Of Frenzied Humours and Death Of Ratiocination. In conclusion, you could say that this album doesn’t do anything new. It doesn’t. You could say that this rather meat and potatoes death metal we’ve heard so many times before. Which we have. However what makes the difference here regarding this record is that it does it so well against what other bands and records might have done beforehand. The instrumentation and songwriting and atmosphere the band are able to imbue within this record are top notch and really excel at bringing your attention fully into the decrepit and cobwebbed soundscape they’re exuding. Listening to this album reminds me of stumbling upon a tomb you really wished you hadn’t stepped in, not because of what’s inside but your own inability to escape and you’ll only join the legions of the dead. Once again this record isn’t anything new that you wouldn’t have heard before but it’s the great atmospheric believability the band produced here that keeps you enticed and the malicious evil their instrumentation offers. All in all it’s a fine album and one that might give you more than you were initially expecting, solos may be kept at a minimum but you’ll be glued to the record out of immersion alone.
(the beauty of the rhythm of darkness)