Ignivomous, Embodied, Inverloch, Starfaust



Two weeks since Denouncement Pyre devastated the Bendigo Hotel with their first live performance in five years; this small venue was to face another night of absolute mayhem.  With dismay Starfaust which contains ex-members of Ignivomous and Roskorp had cancelled, fortunately Black Jesus (a more then worthy replacement) was called in. Unfortunately traffic is not always one ones side, and I completely missed Black Jesus’s set and arrived only in time for Inverloch. 

For those not sure, Inverloch contains two members of Disembowelment who reunited under a full line up  titled D.usk and started playing live shows covering Transcendence into the Peripheral,  only recently taking a new form. A ghostly mist shrouds the stage and the packed crowd are hypnotized as Inverloch emits their aura of death doom which is similar to Disembowelment (believe it or not). Though not having the same spellbinding effect as D.usk is merely due to  many not having digested the upcoming EP Dusk/Subside, but this showcase will have plenty drooling for its release. Being on a stage with some finest death metal Melbourne has to offer, Embodied feel outplace on the bill. Sure they play death metal but are any good… no. Following the Cannibal Corpse textbook, their brutal American styling made the beer garden the bests place for their set.

Having been disappointed with last time I saw Ignivomous a year ago due to muddled sound which felt like rolling down a rocky hill in a trash can, this time things were very different. Armed with two axmen, Ignivomous crushingly kicked off with Death Transmutation. A set scattered with tracks from the upcoming full length Contragenesis, I have say hearing them them for the fist time they were  impressive , even though Nuclear War Now did have the album streaming, I’d  rather wait and enjoy it full force on vinyl. With a minor mosh pit or should I say beer pit due to the ridiculous amount spilled onto the wooden floorboards, Ignivomous pummeled between their first full length and Contragenesis and also included the oldie but goodie Path of Attrition. The crowd did start to thin during the set, though this did not stop them from crushing the remaining skulls in the venue.

Defamer - Decrepit Rituals

Since their 2008 debut Chasm, Queensland death metallers Defamer have picked up the game on Decrepit Rituals. Taking an approach that does not follow any of the current trends of Swedish death metal or Incantation worship.A boiling  pot of the old school death metals savagery, Defamer craft a concoction that is comparable to Cardiac Arrest. 

Like a slimy wrecking ball of unique brutality Decrepit Rituals scrambles your brain with mid paced pummeling in the vein of Suffocation, blood soaked waltzes of Autopsy, Bolt Thrower’s marching rhythm, twisted compositions comparable to Demilich and scattered hints of black metal. The guitars lead the way zigzagging between tempos with a gruesome tone while the drumming follows no patterns, continuously changing  direction like the bowels of a sickening beast. Overall Defamer keep you guessing as to what crooked procession that will take next. The riffs on the other hand don’t always deliver as one would hope considering they are rather high in the mix and are a core component in Decrepit Rituals. Generally the slow paced moments are the most powerful, The End Is His slow heaving outro crushes you slowly like being caught under a steamroller. While occasionally rapid moments tend to become a bit uninspiring. The vocalist’s primary growls are rather powerful and reach sickening points of wetness as Mike Yee of psychedelic death dealer The Dead. Not as intense are his raspy cries, but never the less try to add variety

Taking a unique approach to death metal, Defamer still need to mold their musical clay, no doubt the tools are there to create something of monstrous proportions. Considering Decrepit Rituals an improvement on Chasm, Defamer is a band to keep an eye out  on for the future.       

7/10

Revenge – Scum. Collapse. Eradication

After four years and the loss of member Pete Helmkamp, Canada’s most barbaric have finally retuned with the fourth full length Scum. Collapse Eradication.  With such underground “kult” acts as Revenges progression is considered sacrilege, and are reveled for continuously spewing out the hostile foulness they are known for. Whilst   Scum… is very akin to previous full lengths, it leaves little to be sought.

The experience of your skull concaving is a practice Revenge has assisted in multiple releases and Scum… is no different, except  an axis is missing Revenge previously encompassed. The loss of Helmkamp sneers is noticeable. His vitriol is not there to add munitions to the assault of Reads screams and (if I dare say) variety. Nerveless his departure has not affected the song writing. With their take no prisoner policy as a tank slowly bulldozes the deceased and injured near a trench to be buried dead or alive, the Revenge war machines cogs start turning slowly. Opening track Us And Them (High Power) begins with a foreboding intro, through the slow rhythmic pounding of the drums and shrilled screams before letting loose all fire power in putrid anthem of blackened militant grind. Filthy pitch shifters rumble in 35 minutes of pure desolation along with a hammering guitar tone a venomous squawks that can be described as something more vile then the screams of hundreds of babies being dissovled in acid. J.Read's skin smashing is particularly insane, as if wielding dual mini guns relentlessly propelling lead and tearing the opposition into shreds with out mercy, ensuring all bow down to his carnivorous expertise.

Surges of doom take part in the in the blitzkrieg, as mentioned in the intro of Us And Them (High Power) and the slow build up of pitch shifters and violent commands in Banner Degradation (Exile Of Death). Regrettably they are minimal, but when they occur they are no less filthy then their putrid grind counterparts. Ranked third after Victory… and Infiltration…, Scum… offers nothing new to Revenges harsh barrier of grinding noise but will no doubt satisfy the most militant fanatics. 

8/10



Cathedral, Paradise Lost, Turisas

Some things should never be mixed together like the fruity mixture of folk and metal. Unfortunately opening act Turisas supposedly excels in such a queer combination. Draped in leather fur sacks and caked in red face paint Turisas comes across all a bit to gimmicky, thankfully their “jolly” set only lasts half hour. But with Paradise Lost on next my expectations were not high either, specially considering pre Gothic material is something rare for them live. And unfortunately tonight that material was neglected. Nerveless if you like their later more gothic styling you definitely would be absorbed as they were tight and the man behind the sound did an excellent job at keeping things together. With The Sisters of Mercy also playing tonight this reviewer was bit skeptical if he had made the right choice in not attending, thankfully though by the time Cathedral hit the stage and erupt into the classic Vampire Sun all disappointment is forgotten. A sturdy set list heavily based around  the early nineties period, Cathedral smash through the classic stoner hits of Midnight Mountain, Cosmic Funeral, Ride and the majestic Carnival Bizarre. The crowd is also treated with the crushing performance of Ebony Tears. With  a encore Lee Dorrian singles out all the witches in the crowd before stomping into the groove of Hopkins (The Witchfinder General).  Being their farewell tour these doom lords defiantly left  a legendary impression that will not be forgotten anytime soon.

Toxic Holocaust, Kromosom, Nocturnal Graves

Though not being a fan of Toxic Holocaust, I would still tip my hat to Joel Grind for playing thrash before the wave of throw back, which is the least I can say for opening act Desecrator.  Standard bay area worship, these revivalists had me bored by the first song, thankfully their set let up enough time to allow one to enjoy a couple of cigarettes before Nocturnal Graves. Playing a “one off show” this carnivorous legion being my most anticipated band on the bill delivered chaos and brimstone. Devastating the stage with a set that smashed through the Satan’s Cross LP, hammering nails into the crucifix with When The Demons Feast, Nocturnal Maniac and The Pestilence Crucified. Playing with such ferocity it would leave some doubts whether Kromsom would be able match it. And surprisingly these crusty chaps, raw assault of hardcore definitely met the expectations that had been lay down. Locked in Berserker mode lead sing Yeap (ex- Pisschrist) antics including stage diving amongst his razor sharp screams proved to more then entertaining. As already mentioned not being a fan of Toxic Holocaust, I have say these guys were tight and definitely know how to whip a crowd into frenzy, instigating many circle pits and stage dives to one bounces dismay.  Belting out their “hits” Nuke the Cross , Lord of the Wasteland and Wild Dogs  would ensure most thrashes to cream their denim underwear by the end of the night.  

Proclamation - Nether Tombs of Abaddon



The earth splits in twain; tidal waves of molten lava spill upon civilizations, demons rise from fumes of ash and sulfur only to rape and maim any survivors. A gruesome trail of decapitated heads on pikes and charred corpses nailed to crucifixes is all that’s left of humanity. Nether Tombs of Abandon would be the soundtrack to such apocalyptic event.

Continuing on bestial left hand path, Proclamation fourth full length is their strongest effort yet. The drumming is commanding and thunderous  but not to the point where it is overbearing as on Execration of Cruel Bestiality, and while that 2009 desecration had the guitars extremely low in the mix, this time around on Nether Tombs of Abandon it is much more audible and lends to be more punishing experience.Other than that Proclamation is essentially play the same formula they have been for last ten years: fast tempo that rarely changes, Kerry King esque solos, atmospheric intros and the whole bullet belt goat skull aesthetics. Obviously they take influence from Blasphemy, which is much more prelvent on earlier albums but on Nether Tombs of Abandon and even Execration of Cruel Bestiality Proclamation has broken those chains and taken that design to new violent heights

With such aggression and malevolence Proclamation are easily one of the strongest (if not the strongest) straight up bestial black metal acts around. Though all of the releases from these Spanish devil worshippers are of high caliber Nether Tombs of Abandon has to be their magnum opus so far.

8.5/10



Perversor - The Shadow of Abomination

Spewing from the blasphemous depths of Chile, Perversor return with their second EP The Shadow of Abomination. If not well versed with this Chilean horde then just by looking at the cover should give an indication of what lurks within, or the simple knowledge they are signed to Hells Headbangers.

Stewing in the same pit of savageness as Demon Metal, Perversor once again assaults your eardrums with their blasphemous hybrid of black, thrash and death. Clocking in at eleven minutes The Shadow of Abomination is like amphetamine as it is purely addictive, making it perfect for a quick fix of audio violence. Scorching and blistering Extremist Satanism literally explodes off in cluster of Napalm, preparing you for what Perversor has installed. The drumming floods the mix like Obsessed by Cruelty and the bass thumps away, both assisting to creating a barrier of hateful bestial noise. Not at all moments are like getting caught in trench under a bombardment of artillery, when tempos slow down the Bathory esque guitar work finesse peeks through, these less bombarding sections are still rather speedy and frantic. While songs are slightly distinguishable this EP is best taken in a single lethal dose due to short running time.

Though as solid The Shadow of Abomination is, it never crosses over from great to masterful. And in general Perversor has always struggled to do so, each of their releases lacking a certain attribute that would place them as kings rather other than warriors. Nerveless if you don’t seek originality and thirst for blasphemous brutality then The Shadow of Abomination should quench the venomous craving.  

7.5/10

Black Jesus - Black Jesus Saves

Void of technicality and pristine production, Black Jesus Saves is a procreation of stripped down straightforward death metal. Sure nothing new is  brought to the table, but Black Jesus is just too much fun to deny.

Churning out eight songs in nineteen minutes, Black Jesus is simple and to point. Mostly following rock n’ roll formulas, they don’t bombard you with thousands of riffs and instead have your head rolling across the floor with a handfull of dirty killer old school ones. Actually everything on Black Jesus Saves screams old school death metal. Vocals comparable to Chris Reifert, production sounding like it was recorded within a few hours inside the drummer’s garage and straightforward song writing. Just as the vocals akin to Autopsy so are some of melodies, which waltz around as a bloodthirsty killer hiding in the shadows. With songs only lasting one to two minutes, grind influences of early Napalm Death anf Repulsion prominent in mix, especially in tightness of the drumming as it doesn’t draw that dripping sloppiness death metal vibe.

Sure there is not much originality to Black Jesus, but that doesn’t mean they don’t pay homage flawlessly to the early death metal scene, which more then I can say about half the bands that blatantly do a horrible job of this. So prepare your neck  because its gonna sore by the end of Black Jesus's assault.

8/10

Xenomorph – Empyreal Regimes



The first thing to catch anyone’s eyes on 1995 Empyreal Regimes is the killer artwork. With the depiction of H. R. Giger's Xenomorph, comes across a welcome change to all the gore and satanic images in extreme music. Unfortunately the lyric though don’t have any correlation to the Alien films, and disappointingly the music struggles live up to the artwork.

Being at the more brutal and slightly technical side of death metal, Nebraska’s Xenomorph did have a slightly interesting approach. Exploring strange structures and broad range of tempos, the songwriting is very decent for younf band. However there are moments when Xenomorph do bite off more then they chew and become cluttered. But overall the lack of attention grabbing riffs is more damaging. With rarely any memorable guitar moments and all tracks surpassing five minutes Empyreal Regimes becomes a grating process, although potential can be in the found in the chaotic Valley of the Kings or the forceful groove within Plight of the Cimmerian Subspecies. Just like the riffs the vocals also offer nothing crucial to the experience. Similarities can be drawn to Pete Helmkamp sneers, but generally missing that venomous power the Order from Chaos front man possess. Quite the opposite can be said for the drumming. Powerful and thunderous, the stick work is probably the stand out on Empyreal Regimes and the glowing in a dark tunnel when compositions become a directionless.

The production is  typical of early/mid nineties death metal being rough, though strangely some songs are more abrasive then others. In 2011 Dark Descent did a reissue that came with their (underveloped) 1993 Subspecies demo, and is questionable as to why. Not being a stand out or overerly memorable. Potential does linger within Xenomorph, so who know what could have been if they did not disband after this release. Regardless Empyreal Regimes was forgotten in 1995 with reason and will most likely remain that way.

6/10

Cauldron Black Ram – The Poisoner

The most ravenous, raping and pillaging pirates from down under are finally back for more sea hardy mayhem. After 2010’s average Slubberdegullion with  awkward and lazy musicianship (sounding like  B sides of Skullduggery), Cauldron Black Ram has marked the right spot on the map with The Poisoner. With an opening title track, crashing like a steel cannonball through a wooden hull, the first thing noticeable is the change in guitar tone, shifting from that crusty buzz to a slight cleaner hum. And as you dwell further into The Poisoner despite the change, the core of Cauldron Black Ram’s unique signature sound still remains twisted, primal and ugly.

It has never been easy task to pinpoint Cauldron Black Ram's approach and I can only loosely describe it as of sludgy, Bolt Thrower influenced, pirate themed  blackened death metal. With my "loose" description you can figure how unconventional they are. Passages of doom lurk within all tracks prime examples being midway through Corpse Chariot, when the song grinds to a halt and creepy dual growls along with dragged out riffs take control, or the slow churning intro of Infernal Interjections. Hypnotizing almost thrash like  rhythms wander within Beast In The Brass and a infectious  sing along chorus in The Poisoner. But if you you’re familiar with band you should know what to expect.  

What makes this release superior to Slubberguillon is the fact that it was created with conviction. There is no awkwardness in the dynamics and everything moves together at the same twisted pace. Though overshadowed by  magnum opus Skullduggery, this EP is definitely cast the sails in the right direction.

7.5/10

Absu, Portal, Ruins

It’s hard to blame anyone for not wanting to arrive at  Conjuration Festival early. With the opening line up of A.M.D.B.L’s uninspiring unconventional grind, Encircling Sea medocre sludge and run of the mill black metal band Ruins, makes the start of  Conjuration fest  passable. With the last two bands being the highlights of the bill, this night begins with Portal. With a stage presence like no other, the Curator dressed like a phantom spat out of a black hole along with his fellow headsmen hypnotize the crowd with their brand of haunting complex death metal. Evoking an abysmal atmosphere through a pristine sound and along with fret board wizardry that would make your eyes bleed,Portal is a mesmerizing experience. Reciting their incantations for the first time in Melbourne, Absu nails their set with deadly precision. The Proscriptor sounding like a pissed off goblin after being cut off from the local pub in Moria introduces tracks amongst there diverse set list spanning over their twenty year career, including Highland Tyrant Attack, Manannan and Swords and Leather. With the chant of “ABSU” from the packed East Brunswick Club the Texas veterans return for an electrifying encore of Never Blow out the Eastern Candle. Though definitely being worth the $40 price tag, the bill could use improving as it was like putting wolves and cats in the same cage.

Void Meditation Cult – Sulfurous Prayers

From the ashes of Sperm of the Antichrist, slivers forth Void Meditation Cult.

Dripping in morbidity, this four track demo delivers ancient bestial black metal in the vein of Beherit with a dose of rotting death. Despite being only one member, Void Meditation Cult is far above any pathetic one man bedroom project.

What really stands out about this demo is the evil aura that is emitted,  feeling like your creeping through a sacrificial lair, where dried blood stains linger on the walls and cruelly curved tools of pain litter the rotting floorboards. Void Meditation Cult projects this grim atmosphere through the harsh guitar tone that trudges along with a claustrophobic creep. Along with the very prominent bass which drags around like a body that has been severed in half. Adding to that already possessed terror Sulfurous Prayers has that devilish charm as if it was recorded in the pits of hell, so expect primal rawness the demo format offers.

The vocals shift between sinister whispering and demonic growling identical to vocalist of Manticore, (which may unravel any mystery behind the only member).  The venomous combination of the two creates moment’s of unbridled tension that will have the hairs on the back of your neck standing up. Easily being one of the finest demos of 2011,  if you looking for something that reeks of evil or sacrificing a goat, Sulfurous Prayers should have the wickedness you seek.  

8/10



Exhumed & Consumed: Top 15 albums of 2011

So here are my top 15 releases of this year, out of the 50 I have listened to. Obviously they‘re some killer albums I have not acquired yet like the new Hades Archer so this list could be subjected to change. But for the moment this is my top 15.

15. Speedwolf – Ride With Death

Ride with Death is background music you expect to hear in a pub fight. Packed with killer rock’n roll riffs, shredding solos and vocalist that sounds like Lemmy on steroids, Speedwolf is straight up thrashy speed metal that is hell of a lot of fun.

14. Autopsy – Macabre Eternal

Far from their magnum opuses Severed Survival and Mental Funeral, Macabre Eternal is still a solid comeback for the Lords of gore. Insanely, Chris Reifert vocals also have retained that sickening wetness after all these years. Take note Morbid Angel this how a comeback is done.

13. Cruciamentum – Engulfed In Desolation

After merely whetting our appetite with a split since there devastating 2009 Convocation of Crawling Chaos demo, Crucimentum finally strike back with Engulfed in Desolation.Continuing on with that cleaner sound on Eroding Chaos unto Ascendant Flesh, Engulfed in Desolation is packed with killer death metal riffs and crushing atmosphere.

12. Hic Iacet – Hedonist Of Death 

Hedonist of Death is easily my most listened to demo of the year. Cryptic blackened death with a filthy atmosphere.

11. Mitochondrion – Parasignosis

Slightly less aspiring then their 2009 masterwork Archaeaeon, Parasignosis stills a worthy successor.  Empathizing more on atmosphere Mitochondrion sound still remains chaotic and unconventional at the core.

10. Whitehorse – Progression

Noisy sludge from Australia, Whitehorse play simple thick groovy riffs with scattered electronic parts in their crushing sound. It actually gets that heavy it sounds a deathly at times. Unique sludge I highly recommend.

9. Saturnalia Temple – Aion Of Drakon

Reminding me of Electric Wizard’s Black Mass, Saturnalia Temple is hypnotizing. Heaving doom passages, stoner riffs and ghostly vocals is what you can expect on Aion of Drakon.

8. Graveyard - Hisingen Blues

Improving from their s/t, these Swedish rockers will remind of acts like Deep Purple, Jimmi Hendrix and Blue Cheer. So if you’re a fan of 70’s rock check these guys out.

7. Disma – Towards The Megalith

With members of Funebarum and Craig Pillared of Incantation and Disciples of Mockery, you already know that Disma is going to be exercise in brutality. Lumbering around and devouring all that gets caught in its path, Towards the Megalith is probably the heaviest release this year.

6. Lantern – Subterranean Effulgence

Hailing from Finland, Lanterns mixes old school Stockholm sounds with their own deranged visions of death metal. I’m very much looking forward to their full length album next year.

5. Antichrist – Sacrament Of Blood

Recorded in 1994, Sacrament of Blood finally sees the day light. People have been claiming that this recording is better then anything Blasphemy has done. Though I disagree completely with that statement, this is still some high caliber bestial black metal and actually trumps many modern bands of the style.

4. Goatpenis – Depleted Ammunition

Being a huge step up from there previous full length Biochemterrorism, Depleted Ammunition is savage assault of blackened grind. While keeping the music intense Goatpenis manages keep it all rather catchy. A must listen for bestial grind fans.

3. Necros Christos – Doom Of The Occult

Don’t expect any Incantation worship or Swedish chainsaw buzz on Doom of the Occult. Necros Christos entrances you with rhythmic mid paced death metal.  Scattered with Middle Eastern oriented instrumentals, Necros Christos gives a strong necromantic vibe, but not the type where dead rise to devour the living, more of descending below an ancient temple, finding a mysterious scripture, uttering its verses that transcend you into damnation.

2. Uncle Acid & The Dead Beats – Blood Lust

Sounding like Black Sabbath after intense session of The Beatles, smoking weed and watching horror movies, Uncle Acid & the Dead Beats Blood Lust is easily my most listen to album of this year.  Stoner riffs and acid solos make Blood Lust as addictive as heroin.

1.Antediluvian –Cervix Of Hawaah

After several releases, each being an improvement on the last, Antediluvian first full length is a disturbing masterwork in chaos. Crawling and twisting in the darkest depths, Cervix of Hawaah’s bizarre style of ritualistic blackened death pushes the boundaries of extremity. Caution though this album is not for the weak.



Blessed Offal - Blessed Offal

Creeping out of Boston, Massachusetts, Blessed Offal serves up their first mini album.    This thirty minute self-titled EP is manifested with relentless grinding, hallowing doom passages and a cold dense atmosphere. A slight Incantation vibe flows from Blessed Offal; but it is far from mindless worshiping currently occurring. In fact Blessed Offal roots dwell in more traditional sounding death, doom and grind.

What sets Blessed Offal apart from death metal masses is how they weave different styles of extremity in their sound. Moments of Entombed Clandestine era groove and Brutal Truth bludgeoning courses through Blessed Offal veins at battering moments, which often slow down into to doom segments. These doom sections is really where the Blessed Offal impresses for the atmosphere become more compelling, shifting to a mid-paced wander of wet sloppiness reminiscent Mental Funeral and Severed Survival era Autopsy. And often enough the band slows down to the crushing crawl of DiSEMBOWELMENT.  This deadly combination of blasting death grind and harrowing doom keeps you on your toes.

Blessed offal also shows their skills with Seasons in Sepulchral Depths and A Means to an End both surpassing the eight minute mark. These two songs being lengthy never feel dull or dragged on, and contain some of the most powerful moments on the EP, especially the doom ending to A Means to an End. My only detract with Blessed Offal is it sounds is a bit clean. I would have preferred a more abrasive sound to go with the dark atmosphere. Regardless this is a solid first step for Blessed Offal and this EP should have you enthralled for a decent amount of time.

8/10

Heresiarch – Hammer of Intransigence

If audible chaos is what you’re after, Hammer of Intransigence will definitely satisfy that primordial hunger. Hailing from New Zealand, Heresiarch spews fourth a raw mix of violent blackened death metal, just as their barbaric countrymen Diocletian, Vassafor and Witchrist.  Actually in fact there are two member of Diocletian present in Heresiarch so with that knowledge you should only expect an absolute pulverizing experience. And that Hammer of Intransigence delivers.

The music is apocalyptic. From the howling shrieks and torturous sneers, to the bombarding artillery strike drumming and the furious riffing, creates are barrage of chaos which fits perfectly with the intensity of the style. But just like many other bestial grinding acts Heresiarch become repetitive sounding. Providentially by weaving some doom section like at the end of Carnivore keeps you enthralled. These almost ritualistic doom sections offer relief to the restless frenzy and try evoking an atmosphere of dread. Sporadic solos like in Thunorad keep you griped also.

The ambiance on this album is very fitting to the chaotic vibe. Abominations the opening song uses the sounds of war sirens, marching and twisting steel to paint images of a hellish wasteland where war rules supreme; while at the end of Conflagration the distant haunting echo of chanting monks is heard. By demonstrating a solid understanding of the blacked death blue-print merely on their second release, they’re no doubts Heresiarch will continue expanding on their already deadly aptitude.

7.5/10  



Corpressed - The Dagger & the Chalice

Swirling in Corpressed’ s cauldron of influences are the likes of Incantation, Bolt Thrower and that old school sound of Finnish death metal. With a thick muddiness discharging through all instruments and a cryptic atmosphere, for a young band Corpressed have ticked the right boxes in regards to heaviness. But as grizzly at the mood is, it won’t be enough to keep you completely bogged down.

 The heavy tone is simply let down by the average musicianship.  The riffs are very standard being mid paced for the most part with a bit of groove and the leads are the least bit memorable. Not sticking out either but being slightly more engaging is the drumming, which often drives the music forward and keeps some some of the mid paced moments interesting. Tracks open with short intro s like Nameless Cult but this offer nothing to the experience.  Being the standout on The Dagger & the Chalice are the vocals.  Brutal bellowing that sounds similar to Daryl Kahan of Funebrarum and the occasional gut wrenching screams helps add variety, noticeably in Altars of worms (being the best song on The Dagger & the Chalice). As it pummels forward before slowing down into murky melody’s, only to set to rampage mode again.

Though this is decent attempt at creating heaving nihilistic death metal its easily forgettable amongst old school tide of resurgence. The sheer weight within The Dagger & the Chalice makes it well worth a listen or two. But due to the standard dynamics won't have you coming back for more.

6/10

Vastum - Carnal Law

Vastum is a young band hailing from San Francisco. Carnal Law being their first release combines old schools sounds of Autopsy, Bolthrower and Asphyx, offering  mid paced sounding death metal with hints of doom. Usually certain ugliness is associated with that tank treading sound, from pounding riffs or devouring atmosphere.  Lacking in these crushng attributes makes Carnal Law  equally thrilling as a ride on a merry-go-round.

Hitting thier stride early on the twisted galloping of Re-member , Carnal Law never continues with that consistencey and remains collapsed in mediocrity. 
Everything  just simply feels generic , occasionally engaging riffs and meaty doom sections creep in but it is simply not enough to retain ones attention.  Being lackluster Carnal Law in not completely soulless. L.B’s vocals which are a standard affair still give a slight push with his decent range of bellowing growls and raspy screams. And while the leads are not amazing they  are still enjoyable, but to sit through a song just to hear a moment  of sharp soloing is  tedious.

Giving Carnal Law a score of 5 may be bit harsh but it just sounded so  uninspired. Considering there are much better modern bands like Cauldron Black Ram and Hooded Menace coming from the same pool of influence, simply makes Vastum not a very tempting listen. 

5/10

Graveyard - Hisingen Blues

It appears these Swedes have really picked up the game on their latest effort Hisingen Blues. Vastly improving on there 2008 self-titled that sounded a bit safe for its own good. Graveyard have splashed more paints on their canvas, streaking it with a improved and more natural approach.

The musicianship on this album has improved greatly.  Never being forced or contrived as their previous effort all the songs flow  naturally. The opening track Ain’t Fit to Live Here rockets forward  with a searing riff that will remind  of classic  Led Zepplin and Deep Purple. Then followed by the chilled out No Good, Mr Holden, with its bluesy licks and blissfully loose soloing.  Running down the spine of Hisingen Blues hints of The Jimmi Hendrix Experience and traces of Black Sabbath can be heard in thier 70's wordhipping sound. And finally mention should go out to the massive closing track The Siren (where vocalist Joakim Nilsson  sounds like man possessed), which can be described as locomotive carrying TNT slowly picking up pace, losing control, derailing and exploding in a blaze of glory.

Not only big a big improvement on thier previous full length, Hisingen Blues also gives a big middle finger to all the naysayer of "rock is dead". If your into psychedelic, stoner or that 70s rock sound Hisingen Blues should definitely be checked out.

8.5/10

Hic Iacet - Hedonist of the Death



It’s a rare occurrence for a bands first release (especially demo) to leave a strong impression and not be forgotten. Spanish inquisitors Hi Iacet have hammered all the right nails into the coffin leaving such notion. Mixing the repulsive combination of black and death metal, Hic Iacet (translating from Latin “here lies” which is commonly written on a grave or tomb’) Hedonist of Death demo is monstrous.

Caught in between a slimy web, Hedonist of Death takes the chaos of Teitanblood, the buzz of old school Darkthrone and the slithering tempo of Necros Christos. Vocals are deep and grueling very comparable to Craig Pillared efforts on Prelude to Apocalypse, and the guitars thick buzzing tone could just oozes through anything. This all  evokes a claustrophobic atmosphere, that encloses the listener into a tomb buried deep into the earth’s crust. Moments of Hellhammer and Celtic Frost rear their way into Breviary of Congenital Rot and The Four Deathaphorisms. While the dense Nihilistic Hellannihilation’s punishing rhythms takes you on a mid pace ride through the murky catacombs of hell, making sure you witness every atrocity. To then fianlly t be consumed by the slightly doomy outro Mortuary Psichophonies  with eerie riffs and suffocating rasps.  

As much Hedonist of Death has to offers it never tries to re-invent the wheel. Instead follows and strengthens the black/death blueprint already lain down. Created with such wicked conviction Hedonist of Death, it's only a matter of time before Hic Iacet conquer all.

8.5/10

Stench of Death #1 Naked Whipper - Painstreaks

Naked Whipper has become quite the cult band, due to their short life span and limited availability of thier releases. Since their 1995 debut Painstreaks, Naked Whipper has  remained remembered in  few cirlces.  Making their sado grind metal classic an almost lost gem.Combining the primitiveness of early Napalm Death, rawness of Repulsion and the malevolence of Blasphemy, Painstreaks is eleven songs of pure raw satanic aggression.

Pagan Pussy Gore Intruder begins Painstreaks assault with a take no prisoner policy. With the vicious sounding guitars, bestial barking of impious lyrics and machine gun blast beats. Setting the listener up for the cyclonic ferocity that is Painstreaks. Each song is short burning incendiary round never passing three minute mark, the shortest being Naked Whipper; which starts with a hard-hitting rhythm before ensuring decimation with relentless grinding. The riffs are what really stand out on Painstreaks, they are insanly catchy and at the same time they never lose there sheer aggressiveness, same goes for the choruses that will have screaming like a maniac to. It  should also noted  all that songs are also delivered in  live ritual form  adding another raw and filthy  layer. Notably vocals are a step grittier and demented then the studio recording, making it worth the listen.

Painstreaks is definitely a gem of the genre. It is rather unfortunate this release still has not had a proper reissue,  only coming in form of bootlegs nowadays. Regardless it's very worth getting your hands.

9.5/10