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