obscurantist death metal: Chapel of Disease (Germany)

Obscurantist death metal appeals to the initiated in a heritage of metal in which the total is bigger than a simple sum of the parts: Venom, Sodom, Destruction, Kreator, Bathory, Hellhammer/Celtic Frost, Morbid Angel, Possessed, Sarcofago, early Sepultura, etc. It’s not a coincidence that in 2013 the bands that play obscurantist death metal are not recording their first demos, but rather but have been around the block a bit. It is a spirit of profoundly blasphemous death metal, with ancient themes, such as found in the myths of holy books or evil characters in fantasy fiction (books, movies, etc.). It is unscientific, irrational, obscurantist, superstitious on the topics of deities, darkness and evil.

Chapel of Disease (Ger.): “Summoning Black Gods”

If you have ever said something like: “I love dark and evil old death metal” or “I love very early Sodom, Sepultura and Sarcofago” or things along those lines, Chapel of Disease makes music for you. The target audience is exactly you. To show how serious the band is about this matter, consider this: They have a song called “Dead Spheres” whose beginning is a lot more than reminiscent of Sarcofago’s song “Nightmare”: it is actually simply lifted off Sarcofago, straight up, lifted. It is the band putting out the call for those into this type of music.

Let’s you reach a false conclusion, Chapel of Disease is no retro, semi-tribute-like band. I find this album to be outstanding and when I listen to it on headphones, I hear a drummer with a lot of style and personality, a hard hitter; and a vocalist dedicated to the fundamentals of what used to be called “dark and evil underground metal” and turns in a wonderful performance, in that sense. One more thing, these hard-driving riffs are rough around the edges, as they should be, but ridiculously effective. Whether you like “war metal,” “black thrash,” the heaviness of Incantation and Immolation, classic black metal, as well as Possessed and classic Dark Angel, I would say that there is something here, made especially for you.

Chapel of Disease has essentially read your mind. They do not necessarily sound like those bands, but they have certain elements for sure, be it hooks or just an ancient feel.

www.chapel-of-disease.jimdo.com www.chapel-of-disease.jimdo.com

Stratovarius: Under Flaming Winter Skies LIVE

Stratovarius has new studio album out called "Nemesis," already reviewed in this zine.

With this quick note I just wanted to remind the Stratovarius fans that there is also the live album, which is interesting to the Stratovarius fan for two reasons:

1.It is the last album with longtime drummer Jörg Michael. This is one of those last shows with him.

2.This has a lot music, of course, with all the hits that you'd expect!

There is also a dvd of this concert in Finland. The band does sound live on here, it does not sound perfect, which is a good thing. Very nice presentation.

www.stratovarius.com

Metal Bulletin zine totally missed the boat on this one: Unisonic:"Unisonic"

better late than never!

Metal Bulletin zine totally missed the boat on this one: Unisonic:"Unisonic"

The father of power metal, Kai Hansen (former Helloween leader and longtime Gamma Ray mastermind) joined his former Helloween mate Michael Kiske's band Unisonic, rounded out by other experienced rock/metal musicians from bands like Pink Cream 69. This music oscillates between metal and rock, from the rocking moments to the midtempo songs. Of course, all the levels of quality on "Unisonic" are high, professional and experienced. Expect very good sounds because they do not know any other way of working.

The main thing to emphasize here: it is always nice to hear Michael Kiske sing because his voice is very special, backed up by top notch musicians, with extensive knowledge how to write songs that can impact the willing listener.

Unisonic is a good time, a good, good time.

www.unisonic.org

Rectified Spirit (India): "Rectified Spirit"

Melodic thrash with a vocalist that sings, and a bit of a prog-melodic touch. For the most part, Rectified Spirit goes for thrashing and headbanging, with a melodic edge, with some of overtones/moments suggest metalcore elements, like the screamed vocals and traditional singing in combination. All in all, the sound is melodic thrash, and definitely not hardcore, amply demonstrated by the Maidenesque guitar melodies and the Priestesque wailing. Tracks like “There Is No Tomorrow” and “Rectified Spirit” are good examples of these traits. “Paradigm Lost,” on the other hand, sounds a bit like Killswitch Engage and Exodus together. The prog parts, in general, are separated in the form of two longer songs that are 8-minute plus. This shows that a characteristic of metal bands from India: they do not care to be boxed in a particular category; they play metal, mix and match, cut and paste, in a free-thinking way, seemingly unfettered by the rules found in certain other countries and their scenes. Good potential here. www.facebook.com/Rectified.Spirit.Official www.facebook.com/Rectified.Spirit.Official

The Three Amigos of Weird Experimental Metal: Azure Emote, Rotting Christ, Sigh

These three entities are heavy, in a metal way. The target audience is very much metal, given that this is black and death metal in fundamental ways, but with added elements of adventure. It’s impossible to confuse the albums with someone else’s because each one is pretty unique.

Azure Emote (U.S.): “The Gravity of Impermanence”

Rotting Christ (Greece): “KATA TON DAIMONA EAYTOY”

Sigh (Japan): “In Somniphobia”

The basis of Azure Emote consists of “brutal death metal,” in the sense of Montrosity and Vile, where Azure Emote mastermind Mike Hrubovcak growls. What is really, really distinct about Azure Emote is the variety of instrumentation, moods and components that make this album a complete other ball game. The result? Depending on which moment we are talking about, it’s atmospheric death metal, really heavy “brutal” classical music, death metal opera, trippy sounds, amongst other things. Highly recommended if you want to hear death metal taken to places that few have imagined. That’s something, isn’t? www.azureemote.com

Rotting Christ just keeps taking journeys, dragging any willing listener on field trips into the band’s fearless minds. So, how do they make weirdness sound so catchy? Snake-charming music, freaky chanting, and music that sounds like the band wanted to create the atmosphere of an “evil convent” in the mountains, by the caves. Compared to Azure Emote above, Rotting Christ sounds a bit more “normal.” Of course, Rotting Christ is also very experienced at the art of composing memorable songs. That’s definitely an achievement for these veterans of black/death mind expansion. www.rotting-christ.com www.rotting-christ.com

Sigh embraces weirdness. See “L’excommunication a Minuit” for an illustration. Imagine, if you will, that the international man of mystery Austin Powers (it’s going to get downright strange when a sentence begins with “Imagine Austin Powers…”) with a bunch of hippy friends and funny sounding guitars and organs, from the 60s. Add Lisa Simpson and her jazz to this commotion. You will also hear monkey screams, maniacal laughter, bird or mosquito-like sounds, and insane asylum sounds. That’s one song. There are 11 tracks. Yikes! I’m going to need a double dose of my medication today.www.facebook.com/pages/SIGH-official-page/227550909275

Anvil: "Hope in Hell" or rather, Anvil: Stupid Music by Stupid People for Stupid People, and Proud of It

Anvil: "Hope in Hell"

or rather, Anvil: Stupid Music by Stupid People for Stupid People, and Proud of It

Anvil has a new album that is perfect for the stupid moments in life.

Anvil are the kings of stupid.

stupid has nothing on Anvil.

stupid and Anvil go together, like a fish to water.

new album, new levels of stupidity www.facebook.com/anvilmetal

black metal Tuesday: Enshadowed (Greece)

Enshadowed: "Magic Chaos Psychedelia"

Efficient, reliable, intense and appealing, that’s Enshadowed. Blasting their way through traditional black metal with contagious enthusiasm and personality, this title (their third) sees the band stack up the riffs with quickness, always keeping the foot pressed against the pedal, and wisely backing off the blasting at the selected places, only to return reliably to the high level of intensity.

When the music is playing Enshadowed is utterly convincing in the execution of songs that bundle up slightly dissonant riffs, thrashing hooks, while loyally sticking tightly to the definition of traditional black metal. The snarls and screams give you everything you want, and nothing you don’t. Just black metal.

Noticeably, Enshadowed rejects utilizing melodies to make their point, preferring to communicate through sheer musical muscle, and a riff-after-riff mentality. The “psychedelia” element seems to be found only on the last song, the title, which sports some spacey/trippy moments. In summary, as black metal execution, Enshadowed has it all bagged up and ready to go. Join them for ride into blasting black metal, and more.

www.facebook.com/EnshadowedOfficial www.facebook.com/EnshadowedOfficial

black metallers Fiends at Feast

Fiends at Feast: "Towards the Baphomet's Throne"

I like what I’m hearing from the skillful and confident Fiends at Feast, who begins with three headbanging songs, full of raging riffs, speed and a veteran vibe, some cool hooks to boot. The sound is pretty clear and the bass is audible in places. They are the kind songs that black metal listeners, especially the black metal maniacs, will view positively, as it should be.

The fourth track “Walls of Worship” is a slow number. Here, I find a bit less to be interested in. The next one, “From Hell They Rise” should have hit the ground running, and it’s incredible that it is a sort of midtempo, meandering one. The vibe of the album is in serious jeopardy now. Shockingly, next is an acoustic interlude. “Hedonistic Heresy” brings back the energy, a bit too late in the album, even though there are there are two more songs.

After repeated listens, I have concluded that the chronology of the songs is not the most conducive to keep the intensity up. More importantly, I think that the slower numbers would have been better served by (1) making them shorter and (2) infuse them with more speed earlier on. The result is an album that I want to like more, but it’s necessary to arrange the songs better, bringing forward the intensity more. www.facebook.com/FiendsAtFeast

Metal Bulletin zine on Facebook

Metal Bulletin zine is on Facebook Check it out, don't be a stranger and give it a like www.facebook.com/pages/The-Metal-Bulletin-paper-zine/238441519609213 www.facebook.com/pages/The-Metal-Bulletin-paper-zine/238441519609213

Texas thrashers Warbeast recently played a show in Houston

Here's one for the thrashers:

Texas thrashers Warbeast

recently played a show

in Houston,Texas

here's footage of the show

www.fuglymaniacs.com

Kingcrow (Italy): “In Crescendo”

Kingcrow (Italy): “In Crescendo”

Kingcrow, a traditional progressive metal band, has a talented singer and songs packed with so much skill that they should give away 20 percent of their talent to core or slam death metal bands, who would not know a note if it bit them on the derriere. In addition to being potential musical philanthropists, Kingcrow strikes an efficient balance between writing songs that can be remembered rather easily and flexing their prog musical muscles.

“Right Before” and “This Ain’t Another Love Song” are the two easy, memorable tracks that open this title. Then, things get melancholic, proggy and the band really shows its cards. Kingcrow’s sound allows different, subtle details to be heard, from the bass to acoustic guitars, to vocal layering.

Of course, no growling, no blasting, no breakdown, no pig squeals, no zombies, no glorification of violence, so on and so forth. If you hate singing and singing about personal emotions, clearly, this is not for you. There is also not much headbanging or shredding here.

It’s just music with good songs, and no gimmicks. If Kingcrow were literature, it would be the type of books that “the masses” complain that the author is too complicated and “doesn’t get to the point” quickly, and that the author tries to “confuse” the reader by using “big” words. If Kingcrow were a painting, it would be a one that a lot of people do not like because “you can’t tell what it is,” and it’s too “abstract.”

Really, it’s actually not that difficult, but it takes several good listens before most listeners will understand it a bit. All that’s needed is a willingness to comprehend. www.kingcrow.it www.kingcrow.it

Woe: "Withdrawal"

Being out of the loop on the music of Woe,

I had no expectations. The band name is not the most exciting and the one-word title surely doesn’t sound interesting. Just wait until you hear this black metal! I was not even finished checking out the second song when it all became obvious: although steeped in the grim and classic 90s black metal, Woe has substantial creativity and a strong sense for arranging the songs. The most impressive aspect of Woe is how each song has things to make it stand out: whether it is a hook, a change in rhythm or just good riffs, Woe takes but one listen to convince. Woe is not afraid to use semi-melodic singing nor fearful of using melody to enhance certain moments in the compositions. Even though it is completely accurate that Woe has semi-necro production values and they could benefit from a clearer sound quality, Woe is more than a band with potential. No need to wait, they deliver the goods now. Check out the huge black thrashing riffs on “Carried by the Waves to Remorseless Shores of the Truth,” and if that doesn’t make you bang your head, then possibly nothing ever will. The soloing is catchy, too. Of course, the vocals are ripping shrieking snarls, and you can hear the bass in places. The thing is that every song has important spices like that which makes them attractive to the black metal ear. Woe has just made me a new advocate. www.facebook.com/woeunholy?ref=ts www.facebook.com/woeunholy?ref=ts

Krypts (Finland): "Unending Degradation"

High-density, claustrophobic, massively heavy death metal, sustained by some of the most doom-ominous guitar work covered in issue 35 of this zine, Krypts carries the music of a numbing darkness, and no hope. Think of the slow music found in Blaspherian, early Incantation, Candlemass and Imprecation, and you’ll be in the frame of mind for this. The vocals are way beyond comprehension, and project only a dark, rumbling murmur, perfectly appropriate for this bleakness.

Krypts launches into bursts of blasting speed in some places, for variety and hopeless fun. In addition—but it’s indispensable to listen closely to these songs—there is a silver lining of melodies, the type of melodies for the end of the world.

This last particular matter of melody is actually, in my opinion, the crucial piece of the puzzle for Krypts. This is why: without them the songs would be boring, because we would have a band that sounds like it is playing slow songs for some 40 minutes. In fact, some people have listened to this album and have not listened closely enough and they did not find the melodies and have mistakenly dismissed Krypts as a band that specializes in slowness. No, Krypts specializes in a vibe, a very heavy, dense death metal darkness. Yes, it does take several listens (and you probably should not be texting and driving while this is on because a mosquito-like attention span will not understand Krypts). If patience is not a quality you have with metal, then turn around, walk away, because this will seem extremely dull. Otherwise, if this review caught your interest in Krypts, go here and give a listen.

www.mesacounojo.com

why does Warbeast (Texas, U.S.) exist in the first place? Because they have to thrash to stay alive

as I often tell you, Fuglymaniacs provides an insight into metal events in Houston, Texas.

today I went to the website and look what I found:

Warbeast, a thrash band made up of veterans of metal in Texas.

is Warbeast is the best thrash band you have never heard?!

Well, let's find out now:

www.fuglymaniacs.com

Hod: "The Uncreated Demo"

Hod: “The Uncreated Demo”

I hope that someone with some connections hears this demo and signs the band. Three songs by San Antonio, Texas black metallers Hod performed at a high level of skill. Tight, mean, ripping execution, and a venomous gremlin for a vocalist. I have only seen Hod live once and was thoroughly impressed with their professionalism onstage. They clearly have a twisted sense of humor, but the performance is serious business. Actually, now that I think about it, Fuglymaniacs’ (www.fuglymaniacs.com) technological spell magic wizard Juan has stated this very same thing about seeing Hod live. And Juan is pretty polite, but he doesn’t like people who are not ready for stage. Hod is not only ready for prime time, they could easily conquer stages all over Europe if they were given the chance. I know that people who like seriously-executed death and black metal would love this band because Hod is a high standard. Somebody sign them already. Listen to this and tell me it’s not good. Liar. www.facebook.com/pages/Hod/118127951554999 www.facebook.com/pages/Hod/118127951554999

Necro death metal from the Phillipines and Peru

Necro death metal from the Phillipines and Peru

Here are 4 bands that practice death metal the unmodern way: ugly, unfancy, ripping, and meant for the initiated in the ways of early death metal, when death and black were essentially the same thing, just blasphemous uncommercial metal music.

Pathogen (Phillipines): “Miscreants of Bloodlusting Aberrations”

Such a necro form of death metal that Pathogen will appeal to fans of both raw black metal and old school death metal. The album is from 2010, but I just heard it recently, so I might as well tell you about it now. This is strictly for those into the type of sound values found on Morbid Angels’ “Abominations of Desolation” and of course the first Sarcofago. At times I also get the impression that Pathogen’s favorite song of all time is Morbid Angel’s “Pain Divine” from the “Covenant” album. They do skillful work and one that the initiated will recognize and like immediately. Pathogen does not hide their influences, which is their way of showing their calling card to the listener, and finding those that want to hear some ancient death metal.

www.facebook.com/pages/Pathogen-PH/177645992334222 www.facebook.com/pages/Pathogen-PH/177645992334222

Ancestral/Non Serviam/Offensor (Peru, all three): “El rito” (three-way split) This split is quite the revelation because these three bands are specialists in the type of death metal that is raw and associated with that South American sound. The foundation for is the vibe and enthusiasm for keeping their metal fixed on the selective audience that enjoys 80s production values of underground metal. Riffs that at times go from death metal to black metal and thrash, although the atmosphere and style is certainly death metal. Whether it’s early Slayer, Bathory, Sodom or Hellhammer or Sarcofago, all that is in some way represented here, directly or indirectly. A great and welcomed contrast to the overproduced, “perfect production” and robotized metal.

www.facebook.com/Offensor non-serviam-666.wix.com/nonserviamperu www.ancestralperu.es.tl www.facebook.com/Offensor

www.non-serviam-666.wix.com/nonserviamperu

www.ancestralperu.es.tl

Italian prog power metallists Eldritch pay a little visit to Texas

Italian prog power metal veterans recently did a couple of special shows: 1 in Chicago and 1 in Houston, Texas. Go here to see it: www.fuglymaniacs.com

Saxon: "Sacrifice"

Saxon –-legends from New Wave of British Heavy Metal—has 20 studio albums, from the debut “Saxon” (1979) to “Sacrifice” (2013). As of May 2013, Priest has 16, Maiden 15 and Motorhead 21. Saxon has more than a handful of total classic must-haves. Unlike some longstanding bands, Saxon has a remarkable history of consistency because Biff Byford (vocals) and Paul Quinn (guitars) have been at their respective posts since 1977. By now, the other members—Nigel Glockler (drums), Nibbs Carter (bass) and Doug Scarratt (guitar)—have been in Saxon a long, long time, too, decades, actually. Probably their best since the 1997 classic “Unleash the Beast,” this one is very enjoyable all the way through. Even as a Saxon lunatic fanatic, I am surprised at the excellence, high quality and headbangingness of this album. Nine songs: 8 uptempo rockers, 1 midtempo track. Great rocking vibe. Saxon is very good at heavy metal, always has been. In addition, Saxon here offers fun, new versions (reworked, classical or acoustic) of 5 classics, all good stuff. www.saxon747.com

Aethernaeum (Germany): “Wanderungen durch den Daemmerwald”; Lux Divina (Spain): “Possessed by Telluric Feelings” Vreid

Aethernaeum (Germany): “Wanderungen durch den Daemmerwald” Lux Divina (Spain): “Possessed by Telluric Feelings” Vreid (Norway): “Welcome Farewell” Aethernaeum used to be the solo project of romantic black metal entity Alexander Paul Blake, the name of the frontperson for gothic metallists Eden Weint im Grab (“Eden Weeps in the Grave”). Now that APB has surrounded himself with a band, the name has changed, the essence of the music has not: romantic black metal. I’m not sure if the new band did record these songs or if it’s just APB himself doing everything still. Bottom line, Aethernaeum embodies an elegant, pensive type of “nature black metal.” This music adds to black metal an atmospheric, folk, acoustic feel, with whispered vocals in some places. Twoh songs are about 12 minutes and 3 are between 8-10 minutes, amongst other songs in this hour-long title. It’s not music for a short attention span nor immediate satisfaction. It’s meant to be an experience, and it’s sort of a test for the kind of metal listener that one might be. Right from the beginning, the listener gets two songs (11:44 and 12:07) that invite repeated listens. How good is your mental concentration? If it’s not that great, then Aethernaeum will expand the parameters of the ability to focus, provided the music is given a chance. www.aethernaeum.de www.aethernaeum.de

Lux Divina becomes a listening adventure for those that want something black metal, but also want sounds that provide other elements that correspond with fundamental grimness. In this specific case, Lux Divina makes substantial use of melodic, traditional singing as a main and recurring component, framing the black metal—somewhat in the area of semi-necro, not “modern,” but still rather clear to hear, and easy on the ears (the bass guitar is audible)—in a broader context, with more horizons. Lux Divina consists of plenty of blazing speed, although they bring additional dimensions by way of some slower riffs and rhythms that the listener can recall a bit more than the speed. Of course, the utilization of melodic singing goes a long way towards grabbing the listener’s attention and staying in one’s memory. The point: Lux Divina offers compact songs while constructing semi-necro, grim, tremolo-driven segments, balanced out with singing and tasteful moments. Surprisingly good, creatively strong.www.luxdivina.com www.lux divina.com

God Seed: "I Begin"

God Seed, being the work of ex Gorgoroth members Gaahl and King, surely has some Gorgoroth-like characteristics, but also the use of keyboards throughout the album and broader speeds and moods, and also background sounds. Overall, it is energetic and intense, of course. “From the Running of Blood” and “Aldrande Tre” illustrate the old black metal aesthetics of blazing speed, tremolo and necro vibe. When the band explores other moods, it does not sound out of place with the faster parts. There are some spacey sounds, movie soundtrack-like vibes and perhaps background psychedelic sounds, all done in proportion, nothing too dominant. I know that a lot people like this album, and it does several cool aspects. Nevertheless, I have to call it as I hear it. I have heard God Seed a lot, actually, and have come back to it time and again. In the end, the energy/aggression has not been enough to catch my attention, and I still don’t have the sensation that I know the songs, even after repeated listens. Furthermore, there is another problem, as I see it: I simply cannot believe that they kept the sound quality so poor. These gentlemen are very experienced, and should have insisted on a higher quality for the drums, for instance. The drums sound so poor and plastic. I have a difficult time hearing anything other than a basic plastic snare sound. I don’t know that I hear cymbals, bass drum or anything else. Unbelievable. Is it a drum machine? www.reverbnation.com/godseed www.reverbnation.com/godseed

melodic/growl metal: Be'Lakor; Blinded by Faith; Kalmah; Killswitch Engage; Soilwork

melodic/growl

The bands in this section have in common the melodic segments (guitar and/or singing) and heavier, growling parts. Sometimes it’s a back and forth switching, like Soilwork or Killswitch Engage. Sometimes it’s not a change between harsh/melodic, but rather an amalgamation/layering of heaviness with melody rolled into a single, consistent bundle, like Be’lakor.

Be’lakor (Australia): “Of Breath and Bone”

Blinded by Faith (Canada): “Chernobyl Survivor”

Kalmah (Finland): “Seventh Swamphony”

Killswitch Engage (U.S.): “Disarm the Descent”

Soilwork (Sweden): “The Living Infinite”

Judging by the music on here, Be’Lakor enjoys classic 90s In Flames and Dark Tranquillity. The vocals go for a low, gruff growl (not scream/sing vocals). The identity of Be’lakor comes from the foundation of rhythms, on a guitar tone close to death metal, with a second layering of dominant and constant guitar melodies. Meaning, Be’lakor layers the melodies on top of the heavy riffing throughout the duration of the songs, maintaining the dual nature of the guitar work. Be’lakor in 2013 swims against the stream by playing longer, mid/uptempo (no blasting) songs for almost an hour of music: 3 songs are 9 minutes, 3 tracks over 6 min., and 1 song that’s 8 min. They take their time, and appear oblivious to commercial pressure or trends. Recommended for fans of classic 90s Gothenburg sounds, and also more current, for fans of Insomnium. www.belakorband.com www.belakorband.com

Blasting and speed in general, with raspy, screechy vocals forms the basis of Blinded by Faith. The raspy vocals are of the high variety, as found in early Emperor, early Children of Bodom, as well as in some metalcore/emo screaming. That part of the band’s sound is more for fans of this particular kind of screaming. In comparison with the other bands in this section, Blinded by Faith is by far the fastest, and is likely to make an impact the most quickly. For example, compared to Blinded by Faith, Be’lakor sounds moody, mellow and mature, while BbF is frenetic, frazzled, hip and modern. Having said that, Blinded by Faith gives me the feeling that maybe they try to do too much, for this style. Evidence of this aspect may be that after listening to this title a few times, I still don’t really recall the songs. www.blindedbyfaith.com www.blindedbyfaith.com

June 18, 2013 is the official release date for the new Kalmah album. Very reliably on their 7th title, Kalmah continues on the path of a band that never wants to disappoint nor freak out its followers. Once again, Kalmah comes up with guitar work that sounds like black metal and power metal, with thrashy and tremolo riffs, and hooks at every turn. Kalmah underlines riffs, taking the double road that has marked their trajectory: melodies layered above heavy riffs. Some moments are melodic, others are very melodic, some are fast, and others, blazing speed. The vocal style seems to have stabilized for the band: mostly gruff growling, with some snarls peppered in places. Seven albums in, and Kalmah sounds as confident, stable, predictable, and strong as ever.

www.kalmah.com www.kalmah.com

Killswitch Engage have put their best, most commercially viable foot forward. They knew that they needed to bring it, and have good reason to be pleased. The songs are very memorable, have thrashing moments, shredding, moshing parts, energetic/blasting segments, melodic (poppy, even) moments and growling and screams, and a huge emphasis on the scream/sing switching back and forth. Very commercially sensible and business savvy: the 12 songs, (about 3:30 minutes on average) have a basic formula of thrashy riffs over growling, and melodic singing over memorable hooks. Killswitch Engage has put a serious effort into establishing themselves again with their new, returning vocalist Jesse Leach. Their fans should be pretty glad, and some very happy that JL is back. www.killswitchengage.com www.killswitchengage.com

This 84-minute, double title “The Living Infinite” by Soilwork is the most exciting music since 2002’s “Natural Born Chaos,” which made them a brand within the style of melodic growl metal. If you like Soilwork, this will be an enormously pleasant surprise. When a band does a very long album, sometimes I fear that the band will bore me with non-song time-consumers (to be pompous or “complex,” maybe to fulfill some contract obligation). Sometimes bands do long songs with much filler (keyboard solos, bass solos, spoken parts, interludes, so on and so forth). Unexpectedly, Soilwork sticks to doing what they do best: songs that are not too long, that are memorable, poppy in places, with blasting speed or bursts of energy, and thrashy riffs. They simply rolled up their sleeves and got down to work. I believe that they worked very hard to put together a strong album, and it really shows. If you have liked any Soilwork in the past, without a doubt whatsoever, you should seriously consider supporting the band on this endeavor because it is a remarkable effort that maintains a high standard. www.soilwork.org www.soilwork.org

adult contemporary metal: In the Silence; Pretty Maids

adult contemporary

Adult contemporary metal is mellow, singing-driven, unoffending, uncontroversial music that could be played at the suit-and-tie office, or in the background at a restaurant. People would go, “Ah, that’s a nice song, who is that? Is it Journey? Boston? Trans-Siberian Orchestra?” The guitar work is melodic, not “shredding.” Other characteristics of adult contemporary metal are: it is not music you’d be embarrassed if young children heard it; it is not x-rated music; the likelihood that there is a curse word is very low; no gimmicks, no image, no cartoonish, no anti/religious things. It is just catchy songs. If someone told these bands that they are not “real” metal, they would smile, and say nothing because that would be a boring discussion for them. Rock? Metal? Hard rock? Heavy rock? Melodic heavy metal rock? That’s not something with which these musicians concern themselves much.

In The Silence (U.S.): “A Fair Dream Gone Mad”

Pretty Maids (Denmark): “Motherland”

In The Silence exudes talent and professionalism: a clean, clear production, great singing, and skillful instrumentation. In The Silence specializes in melancholic, moody, a bit proggy songs (in places, a bit similar in feel to latter-day Katatonia). Only the first song, “Ever Closer,” sounds like a “normal” song, in the sense of an easily comprehensible metal number, for purposes of getting the attention of the listener. However, after that, it is required to listen to the complete work to get a good idea of the overall interpretation of the music. Personally, it took a day of listening to the album to understand it. I would say that two things stand out the most. First, the melodic singing (no growling, no tough-guy shouting, no air-raid siren screaming, etc.) gives the band an intelligent vibe. It is a nice change of pace from the constant pig-squeals, blasting and growling in this zine. Second, the mood: these songs require patience, have to let them go into moments of slow, mellow, wandering segments, get a little proggy, and find a way to wrap things up. You can listen to this by itself, or have it in the background while reading a book, but it’s probably a very bad idea for the gym when you “want to rock out.” www.reverbnation.com/inthesilence www.reverbnation.com/inthesilence

If radio and television played the song “Wasted” by Pretty Maids, then it would become a massive, international hit song with soccer moms, with middle-age people, and would be playing on the radio every hour. Men and teenage boys would claim that they don’t like it, but they would secretly sing along in the car, when no one is with them. “Wasted” is not the only song like that, “Sad to See You Suffer” is just as, if not more, memorable and ear-friendly. The album is uptempo, happy rockers (but not too much rocking, this is adult contemporary, after all) and midpace sing-along big-chorus tracks. Warning to the knowledgeable listener: If you want the Pretty Maids of the classic heavy metal thunder of the “Future World” album (1987), you should know that this is not that type of band anymore. They are older, less angry, more mellowed out and less speedy. Be that as it may, these songs are well-arranged ear candy, something the band has always done, regardless of time period. www.prettymaids.dk

A Transylvanian Funeral; Vreid

A Transylvanian Funeral: "Gorgos Goetia"

Vreid: "Welcome Farewell" One-person, minimalist, barely audible black metal is the specialty of A Transylvanian Funeral, a project that makes Darkthrone sound like “Epic Hollywood Filmscore Metal.” The audience for this black metal is probably the person writing this review, who, for some reason, happens to get a kick out lo-fi black metal. If your ears perk up when hear the term “garage black metal,” then walk this way. A Transylvanian Funeral has been waiting for you.www.facebook.com/pages/atransylvanianfuneral www.facebook.com/atransylvanianfuneral

Vreid works within broad parameters, and really Vreid is such quality that even very selective people should find this to be a worthy album. Vreid is the type of veteran band that in their youth they loved the early 90s Norwegian black metal and were of course influenced by it, but at this point in their journey that they do not care for categories and narrow definitions. Vreid, being the continuation of Windir, after frontman Valfar died. Anyway, this is no one-man project garage rock “black metal,” but rather a creative force, a band, whose huge riffs show the craftsmanship, the dedication and experience. In parts, Vreid sounds like true-blue black metal tremolo guitar, and the drumming can go at that black metal blasting speed for sure, just check out the second song “The Way of the Serpent,” in which Vreid lets loose on this black metal barnstormer of a song, tremolo riff and tight blasting. However, Vreid casts a wide net, with thrash riffs, heavy metal hooks, a variety of speeds. In the end, Vreid is quality metal, not necessarily a perfect fit for box to be put in. Their “melodic black metal” is highly recommended. www.vreid.no www.vreid.no

Weapons to Hunt (Holland): Blessed in Sin

This is why metallers’ necks hurt so badly. Do yourself a favor, check out this shredding by Weapons to Hunt. Huge, smoking deathrash-ish riffs, but sped up, so these things will make your fingers hurt faster just thinking about the movements on the strings. Every time I listen to this album, the riffs convince me that Weapons to Hunt should get more attention. Why are the riffs so good? One of the guitarists, Ron, is a former member of Sinister, and the other guitar player, Bastiaan, is a current member of Sinister, as is Aad, vocalist for Weapons to Hunt and Sinister. By the way, Weapons to Hunt does not sound like Sinister, either. This band is a bit thrashier, and even though it is fast stuff, it’s not “brutal blasting,” but more along the lines of relentless speed metal drumming. That is, tight and compact. A thrashy riff here, a tremolo segment there, a thick death metal dash over there, and solos/flashes of melody, all done within a sound/production that is death metal. This review makes it appear exciting, doesn’t it? I should hope so, because this band is. www.facebook.com/pages/Weapons-to-Hunt/124969717612834

Bone Sickness (Washington State): Alone in the Grave

This is a testimony of how 18 minutes of rotten death metal by Bone Sickness (from Washington state) has improved the quality of my life. There I was eating my fruit loops in my grandma’s basement where I live in a van, down by the river. I was eating and looking at the cockroaches hanging around on the floor, waiting for me to drop a fruit loop or two. I was finished watching one (of the five) alligator shows that I follow, so I put on the music of Bone Sickness and I noticed that the cockroaches were running away. I stopped the music and the cockroaches returned, with a look of confidence on their faces, so I decided to wipe off those arrogant smiles from their faces by blasting some Bone Sickness again. The cockroaches ran away again. Yes! That’s it, then: Bone Sickness—in addition to bringing enjoyment to the death metal public—is an insect repellant. Bone Sickness is efficient, compact, and unpolished with a sound of more human death metal production values. Short, sweet, to the point: Bone Sickness. Now, if only I can convince these Washington death metal zombies to do an interview with this metal zine that just happens to be in the same state…. www.facebook.com/bonesickness?ref=ts&fref=ts

A small panorama of “old school death metal” in 2013

A small panorama of “old school death metal” in 2013

“Old school death metal,” as ridiculous or inaccurate as that nebulous category might be, seems to refer to death metal in the style of 80s Death and 80s Entombed (“Left Hand Path,” released June 4th, 1990, being an album of songs from the late 80s). That is, uptempo death metal with emphasis on memorable guitar riffs, melodic/catchy guitar solos, relatively straightforward drumming and vocals that underline enunciation, stretching out the syllables, making the growling somewhat intelligible.

Generally, not-blasting-based drumming, and non-“brutal” death metal: Death, Obituary, Entombed, Dismember, but not Morbid Angel, Suffocation, Napalm Death. “Old school death metal” in 2013 contrasts with technical, blasting death metal that dazzles with speed and dexterity, although not necessarily with songwriting. It also contrasts with gore/slam chugga-chugga mosh dumbed-down death metal that specializes in burped-like microphone-cupping and/or low-intelligence lyrics.

Therefore, the bands in this section have some things in common: the emphasis on songwriting, songs that the listener can remember, melodic soloing, heavy riffing, but not particularly superfast. Things like bass guitar or atmosphere are often audible. It is “easy listening” death metal compared to the overwhelming of the senses with speed and noise that is “modern death metal.”

These are the bands reviewed. The last few are actually old “old school death metal” recordings.

Skeletal Remains (U.S.): “Beyond the Flesh”

Morgengrau (U.S.): “Extrinsic Pathway”

Tormented (Sweden): “Death Awaits”

Revel in Flesh (Germany): “Manifested Darkness”

Zombiefication (Mexico): “At the Caves of Eternal”

Megascavenger (Sweden): “Descent of Yuggoth”

Johansson/Speckmann (Swe./U.S./Czech Rep.):Sulphur Skies

Master (U.S.): “Unknown Soldier” (unreleased 1985)

Swazafix (Holland): “Anthems of Apostasy”

Phlebotomized (Holland): “Devoted to God”; “Preach Eternal Gospels”

Skeletal Remains uses a particular template for their death metal found on the album “Beyond the Flesh.” That template is: “Leprosy” (1988) by Death. It’s all here: the simple, uptempo drumming (not blasting speed); guitar that really works out the midpace riffing; the melodic solos; and the classic-Schuldiner-like growling where the syllables are stretched out for effect (as opposed to fast growling, or to low-incomprehensible growling, etc.). Some bits of songs might recall Death’s “Choke on It,” “Leprosy,” “Left to Die,” and so on. For fans of “Consuming Impulse”-era Pestilence, “The Eternal Fall”-era Morgoth, early Gorguts, and death metal descended from Death’s “Leprosy.” They do a Gorguts cover and said cover fits in really nice with this fun album. It will be interesting to see where the band takes their death metal along the way to finding more of their own way towards a more proper identity as Skeletal Remains. www.facebook.com/SkeletalRemainsDeathMetal www.facebook.com/pages/SkeletalRemainsDeathMetal

Generally similar to Skeletal Remains, Texas-based Morgengrau features a rawer production, a rougher sound, a bit a faster tempo. If Skeletal Remains sounds more like Death’s “Leprosy,” than perhaps Morgengrau, we could say, is more like Pestilence’s “Consuming Impulse,” in the sense that the energy level has been brought up a bit. However, wait a minute, Morgengrau definitely has an energy of their own. Like already stated, you can’t go wrong with Morgengrau. These riffs are thick, galloping and do everything except literary grab your neck and physically make you headbang. If you like death metal, it’s like Morgengrau is daring you not headbang and you will not be able to resist. It’s that good. The tightness, the immediacy of the riffs, and the memorable songs, are just what’s needed to make the day better. Very impressive and instantly likeable. www.facebook.com/pages/Morgengrau/112541632142818 www.facebook.com/pages/Morgengrau/112541632142818

Here’s a little fact for you. Bill The Master, who is practically a death metal library, has been playing Tormented quite a bit because he really liked the band’s debut “Rotten Death” (on his show metal show Sweet Nightmares on www.kpft.org). Well, here’s the band’s second album “Death Awaits” in 2013 and it is 100 percent, true-blue “old school Stockholm-style death metal” with that guitar tone. One listen, just one listen is all the listener needs to install this in the brain. The solos are good, the vibe is great, the vocals are particularly rotten and stand out as Tormented. The songs get to the point quickly. Here’s another little fact for you. There’s a reason why Tormented is so awesome: experience: the vocalist/guitarist is “Dread” and “Dread” is Andreas Axelsson, guitarist in Edge of Sanity (all albums 1991-1997), ex Marduk, ex- Incapacity, ex-Infestdead, etc. Clearly, Tormented is no beginner’s home project. www.facebook.com/pages/Tormented/161161300563301 www.facebook.com/pages/Tormented/161161300563301

Revel in Flesh’s debut was called “Deathevokation” and was a Stockholm-style death metal platter. Now then “Manifested Darkness” shows a great love of Dismember. I have read some negative reviews about this band. Revel in Flesh has a peculiar sense of humor. Their name is from Entombed and their debut was from Dismember. Now, they have a song called “Revel in Flesh” and also “Warmaster” and “Torment in Fire,” the type of titles that the metal-obsessed instantly know where they come from: Bolt Thrower, Sacrifice and lots of other sources. These little peculiarities have angered some jaded listeners. I, for one, have tried to find something wrong with Revel in Flesh, and I cannot do it. It’s all good. Yes, it’s not “original” and clearly Revel in Flesh is not claiming that. They’re a just a death metal band that loves their old Stockholm death metal and have a good time as devotees. True, this is a bit more for the total death metal maniac and also for the love-it-all listener, but you know, there’s nothing wrong with that per se. I submit that these songs are pretty good, pretty enjoyable. Revel in Flesh has yet to come up with more distinctive riffing and memorable soloing, but it’s early in the game. Let’s see where they are after a couple more albums. www.revelinflesh.jimdo.com www.revelinflesh.jimdo.com

Zombiefication admittedly has an unfortunate name that some people will not check out because they imagine a band with gore and zombies generic “brutal” death metal. That’s too bad because this band has worked hard at creating songs that really stand as individual pieces with a framework of “old school death metal,” particularly Stockholm-style death metal. Zombiefication is not about speed at all. Songs have moments of speed, but in selected places. Instead, Zombiefication is all about good riffs, good melodies and vibe. The guitar work is definitely worth your time. I am very surprised with just good the melodies are. Each song has little details that make them easy to remember and fun to think about, and hear again. I do not have information about the drumming, whether it is programmed or not. No drummer is listed on Metal Archives. In this specific case, the drumming (or programming) is considerably creative and has a vibe that keeps the rhythm. It does not sound like some mindless programming to just beat fast. There are nuances in the sound that work well for Zombiefication. Hopefully they find a drummer, if they don’t have one. To repeat: Zombiefication has a real strong effort to inject creativity into their songs, has developed a vibe in each and has delivered an album surprisingly good. It shows that they have busted their behind to stand out, to go beyond being a good tribute band. Zombiefication stands on its own with its songs. Good execution, impressive album, indeed. www.reverbnation.com/zombiefication www.reverbnation.com/zombiefication

Who is the hardest working person in death metal? Who seems to be an endless fountain of death metal music? In other genres, some think of Devin Townsend when it comes to musicians who just keep coming up with music, like some of sort of unstoppable compulsion to create. Well, for death metal Rogga Johansson appears to be such a person, too. Megascavenger is another one of the many bands of Rogga Johansson (just look him up on Metal Archives and you’ll see). This album, “Descent of Yuggoth,” works the basic, super heavy death metal foundation in every song, and on top of that foundation, there are riffs, licks, notes, melodies that run above, making things massive, with a bit of melody. The vocals are gruff and low. The drumming is uptempo, basic, almost rock n roll drumming, for beats that anyone can get into. Bang your head, drink your beer, nod along, it’s all good, because Megascavenger is just fun music, nothing too complex. Hear it one time and understand it. Hear twice and you know it, like AC/DC for death metal. Rogga can write songs like this in his sleep (if he sleeps) or if he is driving, he can just hum the riff onto his phone, get home and listen and do it on the guitar. A few hours later, boom, another song is done. Another day, another 2 or 3 death metal songs done. Is he a genius savant? Here is a link to one (out of about 3.7 million) band Rogga is in: www.facebook.com/paganizersweden www.facebook.com/paganizersweden

This same Rogga Johansson has teamed up with the Lemmy of old school death metal Paul Speckmann for something called Johansson & Speckmann. What did I just tell you about Rogga?! In this case, Rogga plays guitar and Paul does vocals, as far as I can tell. I’m not going to lie to you, this sounds a lot like Paul Speckmann’s main band Master and also like Rogga Johansson’s “old school death metal” music that he does so well. If you happen to enjoy this type of death metal, then you know, this is music that is easy to get into. It’s not particularly flashy, it’s just heavy rocking stuff, comfortable as Motorhead or Slayer for death metal. You already have a Rogga Johansson website and I cannot find a website for this project, so here’s Master’s website. www.master-speckmetal.net www.master-speckmetal.net

In the early 90s Master was a band that got name-checked by many, many death metal bands that have themselves now become classic and legendary. The information I have says that this is the 1985 unreleased album, so this would be the recording that got tape traded around the world in the 80s. I don’t know about re-mastering and how much the recording has been “fixed” or re-recorded here. Also, some of these songs are also found on the Speckmann’s other brief but respected band Death Strike. To the music. This thing sounds wonderful! Of course, the sound quality is raw. The energy of these songs is contagious. It is old, basic death metal, ugly and good. Investigate if you love old 80s death metal. I can’t imagine anyone being disappointed, if they like Master and Death Strike.

Here’s another old recording from 1991 and 1992, the demos by Asphyx’s Theo Loomans (who died back in 1998). The name of this band is Swazafix. So, this recording is definitely for those that enjoy old demos of death metal. Swazafix does sound a lot like the death metal of Asphyx, in the vocals and guitar tone, but the big difference is that unlike Asphyx, Swazafix does not do much doom: it’s just blunt, heavy, raw death metal. I have been pleasantly surprised to hear this and it’s even cooler that Vic Records is making this available for the Asphyx and death metal fans. www.vicrecords.com www.vicrecords.com

As if releasing the Master album weren’t enough, Vic Records has put out the Swazafix demos, and as if that wasn’t cool enough, they are also releasing two old Phlebotomized recordings: the “Devoted to God” demo (1992) and the EP “Preach Eternal Gospels” (1993). Phlebotomized on these recording plays really heavy duty super guttural growling death metal, but added keyboards for atmosphere. The keyboards are not very prominent because this death metal is not very melodic. Sounds massive. The result is something not strange today, instead it just sounds like creative really heavy death doom. This is the band’s earlier music, before they scared away metal people by becoming an eclectic band. This is just Phlebotomized playing massive doom death with an atmospheric background. Before the band confused some listeners, this is what they were. They were a solid band, with a sound that was not common back in the day, either. Good stuff. www.vicrecords.com

Imprecation

Imprecation is at it again, enveloping Texas metal in a cloud of doom, descanting the tunes of blasphemous death in “Satanae Tenebris Infinita.” I could listen to this album for weeks on end, really, it’s expertly done at all levels. The songs, heavy as the heaviest stuff around, have a lot to offer: the contrast between the doomiest drawn out parts, with the faster segments, including blasting, achieve much in the sense of distinctive songwriting. Furthermore, Imprecation brings a bit of background symphonic doom to accompany the heavier, drier moments, and that has been a great decision, given the undisputable result of memorability, not just massiveness. Plus, it’s not like that bit of background sounds takes away from the denseness, it adds a sinister mood. The dense riffs have a huge classic Candlemass effect, though in a clearly different context of doom death here. Interestingly, the bits of guitar melody—a hook here, a tremolo lick there, a solo over there —are so carefully placed in the correct spots that you have to go back and listen to how they choose said placement. Finally, the vocals: the low and slow growling functions as another instrument in the cast of sounds. Basically indecipherable, the growling mauls the syllables for encasing in darkness the compositions. What an exciting thing it is to have Imprecation deliver on what has been promised for a long time. Mission accomplished. www.facebook.com/pages/Imprecation/194725213915960 www.facebook.com/pages/Imprecation/194725213915960

The Resistance

Here it is, The Resistance’s debut “Scars,” from the two former guitarists from In Flames (Jesper S. and Glen L.), ex The Haunted screamer Marco A. and Chris B (ex Kaamos, Repugnant, etc.). The band focuses on to-the-point death metal. The songs generally stay between 2 and 4 minutes, and go for thick, simple death metal riffs and uptempo energy, very much made for banging heads. In select places, snippets of melody show up, though not too prominently. Instead, the galloping riffs, the expert drumming and the growling-shouting drive these numbers. Surprisingly simple! It’s a pleasant surprise that these folks got it together for a good debut. In the guitar work the listener may detect the Stockholm-style death metal guitar tone and effectiveness of simplicity. A fun, solid album that should prove remarkably interesting for those that have been wondering what these four gentlemen have been doing since their departure or breakups of their more famous bands. www.facebook.com/theresistanceswe www.facebook.com/theresistanceswe

Skeletal Remains

Skeletal Remains uses a particular template for their death metal found on the album “Beyond the Flesh.” That template is: “Leprosy” (1988) by Death. It’s all here: the simple, uptempo drumming (but not blasting speed); guitar that really works out the midpace riffing; the melodic solos; and the classic-Schuldiner-like growling where the syllables are stretched out for effect (as opposed to fast growling, or to low-incomprehensible growling, etc.). Some bits of songs might recall Death’s “Choke on It,” “Leprosy,” “Left to Die,” and so on. For fans of “Consuming Impulse”-era Pestilence, “The Eternal Fall”-era Morgoth, early Gorguts, and death metal descended from Death’s “Leprosy.” They do a Gorguts cover and said cover fits in really nice with this fun album. It will be interesting to see where the band takes their death metal along the way to finding more of their own way towards a more proper identity as Skeletal Remains. www.facebook.com/SkeletalRemainsDeathMetal

The Modern Age Slavery; Sidious; Svart Crown; Terminate; Wormed

The Modern Age Slavery‘s “Requiem for Us All” combines blasting death metal with core, something like “blasting deathcore.” One of the central features of this band is that they do not do many riffs. They do rhythms, heavy rhythms that come from plucking at the low strings, they do chugging parts, they do breakdown parts (not too much, though; this is a fast band), they have a bit of melody. However, where are the riffs? Ultimately, for someone who listens to metal a whole lot everyday, chugga-chugga guitar is not entertaining, in particular if you are an experienced listener. In addition, the drums on here could be computer programmed or not. The band has a drummer, but the sound is a bit too plastic and it just does not sound that heavy or hard. True, this band does a lot of things right and things to enjoy, such as the speed and intensity. Good job there. On the song “The Silent Death of Cain” the band breaks out with a riff (at 01:05-01: 34) and it sounds refreshing. This is a strength that they should explore more. www.facebook.com/tmasofficial www.facebook.com/tmasofficial

Sidious wondered what happens if Behemoth and Dimmu Borgir jam together. The EP “Ascencion to the Throne ov Self” is that hypothetical jam session. The songs go at a Behemoth pace, so blasting fast, but then have slower moments for Dimmu atmosphere. Just like Dimmu and Behemoth, it’s not easy to tell the real vocals from the special effects. Behemoth does not know how to control themselves in a studio and thinks that adding “monster” sound effects and special effects makes things more “brutal” and “evil.” To sum up, call Sidious one of two things: a symphonic Behemoth baby or a sped up Dimmu Borgir baby. Don’t get the wrong impression, though: Insidious has a lot of potential on here. https://www.facebook.com/sidiousofficial www.facebook.com/sidiousofficial

Svart Crown’s “Profane” walks the line between brutal death metal and cold black metal, between Behemoth and Deathspell Omega. The vocals should please any Deicide/Cannibal Corpse fan. Svartcrown sounds like they brought their A-game, very professional and with a huge sound. The guitar riffs sound thick and massive when in the death metal mode, while the black metal side goes for the cold and somewhat dissonant and dry feel. Now, as to the songs, definitely impressive, clearly the band is no bunch of beginners. I don’t see why Behemoth or Hate fans would not like this band. On the other hand, the picky group that is the Deathspell Omega crowd certainly says that Svart Crown belongs in a category below, and that critique may not be so incorrect, but Deathspell Omega is above just about everybody, so basically proves that Svart Crown has put together a strong collection of songs, any way you look at this brutal/blasting monolith. Time will tell you whether they channel the speed into more memorable songs, which they have not yet mastered completely. www.svartcrown.net www.svartcrown.com www.svartcrown.net

The good thing about Terminate‘s “Ascending to Red Heavens” is the fact they do riffs. No doubt, they know that the riff is the bottom line. When there is a good riff, the song has the potential to be remembered after the music stops. From the first song “Answered in Lead” and onto the last one, “Iron Supremacy,” Terminate’s songs are driven by the riff. Knowledgeable listeners will, of course, hear the Stockholm-style death metal influences, such as the guitar tone, but really Terminate’s songs hold their own just fine, with good riffs, good melodies and headbanging tempos. Unfortunately, the sound quality is subpar on here, making this sound like a demo. For example, the drums sound buried in the mix, making it difficult to hear the double bass. It’s too bad, actually, because there are good melodies in this classic-style death metal. www.facebook.com/TerminateChicago www.facebook.com/TerminateChicago

Wormed’s “Exodromos” is the band’s submission in the international competition “The Most Brutal Album of 2013.” This wildly famous contest takes place in my grandma’s basement, where I live, in a van, down by the river. Wormed’s vocals are total pig squeals, since their vocalist could simply be a pig from the farm. They might as well put a microphone to the pig and see what happens. What happens is Wormed. This band has two guitarists, otherwise known as “chugga-chugga specialists” and they slam and chug like crazy because they are playing to win the gold medal of “The Most Brutal Album of 2013.” And what does the drummer do? Oh, you know, he blasts, blasts, blasts and then after that, he does a bit more blasting to go along with the blasting. Gillemoth is the name of the bassist, but I am not able to hear the bass because the pig squeals took over and kidnapped the bassist. Gillemoth still has not been found. Please call the authorities if you happen to hear Gillemoth at any time during this recording. www.wormed.com www.wormed.net