Review: Cult Graves – Strange Customs

Review by Sandre the Giant

San Jose, California is not exactly on the same level as Gothenburg, New York and Florida in terms of death metal icons, but lurking in the local underground is Cult Graves, whose debut EP ‘Strange Customs’ is getting a fresh rerelease on CD by Godz Ov War Productions. The CD edition has their 2018 demo added into as bonus tracks, which gives you even better value!

Opener ‘Abominations Rites’ is a gnarly, ravaged beast of a track, exploding from the creepy sample at the start with a cacophony of crazed guitar, intense drumming and a brutal vocal growl. The manic frenzy is something very potent, and this continues to be a theme throughout the rest of the EP. ‘Necrophidius’ has a lot going on; guitar riffs spiralling and stabbing through this really dense atmopshere of filth, while the drums struggle to keep up with the insanity being wrought from frets. The sound is so dense and oppressive, you find yourself drowning in it. The title track is a murky festival of brutality; all the excellent guitar technicalities absolutely sodden in a tar-like atmosphere. Somehow it manages not to stifle the music though, just enhance the dread. Closing with ‘Cruor Upheaval’, a track that feels like it was written to make listeners vomit blood everywhere with its potent, chugging doom.

As I said before, the final five tracks are taken from their 2018 demo if you get the CD version, which I did. They are all of a high quality as well, but I’d like to especially mention the horrific tone of ‘Astral Hauntings’, a savage gnawing beast from the darkest reaches of reality. ‘Strange Customs’ is a triumph of techincal death metal crashing into old school death and then being submerged in a mire of foulness. Excellent work, and I look forward to their inevitable full length.

https://cultgraves.bandcamp.com/

https://godzovwarproductions.bandcamp.com/

Review: Kaupe – Cognitive Dissonance

Review by Geary of War

These days when you think Florida you think of all the mental headlines, then maybe Disney, Tom Brady and gators. Well you can add Kaupe to this list. To be clear we do not mean the malevolent spirit from Hawaii who got his kicks luring people out at night to their deaths. No, we mean the progressive metal band. Their new record ‘Cognitive Dissonance’ is out now through the band’s Bandcamp.

The instrumental outfit are clearly talented. They may have toyed with a vocalist but I am truly glad in the end they opted to let the instruments speak for themselves. In a little over 12 mins you have three outstanding tracks, each one different from the last and each as engaging. Be it the drumming which in places reminds me of Mastodon, having a place front and centre as well as forming a spine to build around, the keyboard has thrown all classic metal tropes out the window and brought a 70s vibe to ‘Luck of the Unlucky’ which is a joy to behold. The guitar and bass playing have all the weight you could hope for yet in that same song there is pacing, feel and a soaring guitar solo. ‘Coopers Dream’ is a well placed interlude track which allows you to collect your thoughts from what you have just heard. We are then eased into ‘Simpatico’ where we are treated to another side of what these guys can do.

‘Head in a Bag’ opens in a slow sinister way before moving into a harder, heavier feel. The end reminded me a little of Boss Keloid. Need to satisfy the gamer in you? ‘Cop Caller’ blends a frantic Road Rash gaming feel with a synth wave element all underpinned but the excellent metal playing you know and love already. “Transitioning” slows things down with a rumbling bass line, subtle keys and guitar playing teases the epic to come. ‘Gunslinger’ is as short and sharp as the fight image evoked by the name, it was a nice kick back into life as we are rounded out by the purposeful and striding ‘Capsized’.

Full of swagger and intent this is a fantastic end to the album. With instrumentals the danger lies in no personality; sure you can play, but can you tell a story? Kaupe absolutely can tell a story and my, it is an engaging one.

https://www.facebook.com/KaupeBand

https://kaupe.bandcamp.com/album/cognitive-dissonance

Review: Chainsword – Blightmarch

Review by Sandre the Giant

Polish death metallers Chainsword have released their debut record, ‘Blightmarch’ through Godz Ov War Productions, and I’m immediately struck by the overload of Warhammer 40k references before I even start. Being a 40k fan, I’m probably going to enjoy this a lot.

Opener ‘Ost Front 43: Stalingrad’ gives you the kind of brutalising opener you need for one of these albums. A bruising slab of Bolt Thrower worship, rumbling riffs batter into a carpet bombing of couble kicks while deep growls threaten your existence. It’s a thing of crushing beauty, and it is followed by much more of the same. ‘Spinehammer’ definitely sounds like it would give you some headbanging whiplash at a live show, ‘Horus: The Chosen Son’ thunders along at a mighty pace and really devastates when the slow chug comes back in, and the ponderous brutality of ‘Ost Front 43: Moskau’ is excellent. Chainsword really capture that essence of death metal soaked in the weight of warfare, be it fictional or real.

Some of this album sounds SO much like Bolt Thrower it is insane though. ‘Dead Hand Call’ could have easily fitted on ‘Those Once Loyal’, while ‘Exterminatus’ feels like a successor to ‘The Killchain’ itself. Trust me, Bolt Thrower’s last record inspired this whole blog site to exist, so I’m not in any way complaining becasue we need more bands like that. Sometimes it is a little on the nose though. Fortunately, the band’s songwriting skills are potent enough that this never feels like a lazy copycat, but more of a fitting tribute. The swelling thunder of ‘Dreadquake Mortar’ and the bulldozing riffs of ‘Daemonculaba’ serve Chainsword very well in this regard.

Where many bands go for the gnarly guitar tone or frantic assault, Chainsword are much more measured and concentrated on the weight and the execution. This is a calculated and coldly efficient piece of modern death metal, unfettered by nasty productions or half baked fury. ‘Blightmarch’ is a storming chug across battlefields strewn with the dead. Where that battlefield lurks in the Materium is not known however…

https://www.facebook.com/Chainswordband

https://godzovwarproductions.bandcamp.com/

https://chainsword.bandcamp.com/

Review: Memoriam – To the End

Review by Sandre the Giant

Originally published here: https://www.thesleepingshaman.com/reviews/memoriam-to-the-end/

There was not much in the UK death metal scene that could ever hope to touch the power and crushing force of Bolt Thrower, and when they retired after creating the ‘perfect’ death metal record ‘Those Once Loyal’, it was a tragedy for us all. Until 2016, when legendary BT vocalist Karl Willetts formed Memoriam as a tribute to the late great drummer Martin Kearns, and decided that we needed some iconic death metal back into our lives. ‘To the End’ is the band’s fourth in five years, which is an impressive rate and is out on March 26th through Reaper Entertainment.

Marking the start of a new trilogy of records, following from the last three records, ‘To the End’ is packed with the band’s trademark storytelling. When ‘Onwards into Battle’ comes rumbling from its ancient lands, you’ll be taken back to the days when death metal sounded like the true end was coming for you. Instantly recognisable, Willetts’ roar has never lost any of its iconic growl and the churning chugging riffs underneath him will shake the ground. The band have become more doomladen in their years since debut ‘For the Fallen’, and you get a sense of that epic scale that has been added with the majestic weight of ‘No Effect’. There’s something eerie listening to the threat of violence against protest at the start of ‘Failure to Comply’ in this moment of real world existence, and the guitar work that follows feels like a water cannon to the senses.

‘Each Step (One Closer to the Grave)’ is almost certainly the slowest track Karl Willetts has ever appeared on, and it conjures up massive recent works by Jupiterian or Subterrean. The title track thunders along, flexing some rippling low end muscle, while the gloomy ‘Vacant Stare’ and the stomping Killing Joke-esque ‘Mass Psychosis’ will stand up to anything else you’ll hear this year. For me, Memoriam’s gradual development of their doomier side has definitely been their greatest achievement. Coming wrapped in another glorious Seagrave artwork is the final cherry on top.

Memoriam are always haunted by the spectre of Bolt Thrower, but they’ve shown in five short years they are no mere continuations or tributes, they are as essential to the modern scene as the ‘Thrower was in the nascent years. ‘To the End’ is a mighty addition to their catalogue and bodes well for the rest of the trilogy. Doom is real, and where doom comes death surely follows. Memoriam are death personified, an inexorable crush that awaits us all.

https://www.facebook.com/MemoriamOfficial

https://willettsio.bandcamp.com/music

https://www.facebook.com/ReaperEntertainment

Review: Sepulcros – Vazio

Review by Sandre the Giant

The debut full length from Portugal’s Sepulcros, ‘Vazio’, looks to be another addition to Transcending Obscurity’s roster of epic death/doom titans. It is out now, and will no doubt bring to mind the likes of Winter, Mournful Congregation or Coffins.

After a creeping intro that sounds like something happening underground in ancient halls of stone, the massive title track leads us into a gloomy abyss. Somehow feeling very raw and emotionally draining, yet powerful and majestic, ‘Vazio’ is carved of weather worn monoliths of stone. Puncturing the interminable wall of doom is the odd section of potent blasting rage, which really accentuates the tortured pace that makes up the majority of what you’ll hear here. ‘Marcha Funebre’ is exactly that, a funeral march of guttural roars, tectonic riffs and an atmosphere absolutely sodden in misery. The double kick assault here is unholy, as is the shuddering, smothering tar of ‘Magno Caos’. This is my favourite track; a titanic beast of death and decay lumbering across a broken world. ‘Hecatombe’ plays with you to start; crisp clean notes drift in a melancholic breeze before building into a mighty epic death/doom piece for the ages.

‘Vazio’ sounds like it was recorded under an apocalypse sky, where ash and darkness reigns supreme. The suffocating weight of every guitar riff, every cavernous roar and every mournful melody is unbearably oppressive, and it feels like all light has been drained from the room. Deeply affecting and emotionally draining, Sepulcros are this year’s band to beat for the best record so far.

https://www.facebook.com/sepulcrosdoom

https://sepulcrosdoom.bandcamp.com

https://transcendingobscurity.bandcamp.com/

Review: Phalanx Inferno – The Age of Anti-Aquarius

Review by Sandre the Giant

Texas/Florida newcomers Phalanx Inferno had their debut EP released just before Christmas last year through Godz Ov War Productions, a label that is really starting to consistently nail it with up and coming new bands. ‘The Age of Anti-Aquarius’ is out now.

A powerful organ swells in the intro of ‘Kingdom of Prayerlessness’, before descending into hellish, technical death metal riffing. A murky atmosphere cranks up the necro black metal vibe, while a maddening solo punctures the gloom to knock you on your ass. ‘Renewed Ultra-Violence’ scrapes the bowels of hell for some massive low end while clattering drums provide a backdrop for one of the heaviest depths on the record. ‘Pride… Carnality… Enlightenment…’ showcases the band’s writing skills perfectly through its six minutes of instrumental majesty. ‘Multiple Hidden Genocides’ brings it back down to earth with a more traditional assault on the senses, working those doom moments in with aplomb as well.

Closing with a less than obvious Celtic Frost cover, ‘Jewel Throne’, which captures the enthusiam of the original and filters it through crushing deathly doom, Phalanx Inferno have taken that black/death metal formula and moved the pieces around in interesting ways. A lot heavier than much of their contemporaries, the riff writing and arrangement is just different here and it is great. Refreshing and impressive.

https://www.facebook.com/phalanxinferno/

https://godzovwarproductions.bandcamp.com/

Review: Bestial Warfare – Desecrating Goat Assault

Review by Sandre the Giant

Germany’s Bestial Warfare released their debut EP, ‘Desecrating Goat Assault’, late last year through Godz ov War Productions, and I missed it entirely which is what happens when there is too much good metal to listen to. Catching up with it now, I’m shamed but happy that I finally get to catch up on the hype.

Opener ‘Impaled Human Scum’ launches with a militaristic chug before a devastating black/death cacophony rampages through, snarling vocals competing with low end riffs and a rabid nature. Floods of blasting swirls around the wind-tunnel brutality of the vocals in the absolutely killer ‘Genocide Ceremony (Congregation Ablazed)’ I like the eerie scene setting of ‘Human Sacrifice (Pi Messiah Decapitated)’ but that melts away into a molten river of magmatic ferocity. ‘Iron Bloodlust Infamed’ is not only an excellent song title but it definitely feels fiery. I’m not sure what an iron bloodlust would sound like, maybe the bludgeoning of flesh with an iron bar? This is the aural equivalent.

Closing with the savage ‘Antichrist Offensive’, Bestial Warfare do exactly what you’d expect of them. From the album art style to the name and the sound, Bestial Warfare are a war metal cliche from start to finish but goddamn if this doesn’t absolutely hit the fucking spot for me. Intense, relentless and spilling over with blasphemy, you can’t help but love it.

https://bestialwarfare.bandcamp.com/releases

https://www.facebook.com/BestialWarfare/

https://godzovwarproductions.bandcamp.com/

Review: Anael – Mare

Review by Sandre the Giant

The final part of a four album cycle based upon the elements, Anael’s ‘Mare’ is also their fourth full length and completes the journey through atmospheric and epic black metal with the element of water. It is out now through Into Endless Chaos Records.

‘Odysee’ opens us up with gloomy tones and atmospheric guitar work, and the black metal here feels like a more natural approach than your more traditional blast and screech. The tempos are varied, the songwriting is more grand than I was expecting and there is a certain magic about that revelation. ‘Anachron’ is almost catchy in its execution, blackened riffs rumbling with intent while the atmosphere begins to play with your mind. ‘Glasspeople’ is where I realise that this is a record that is very difficult to describe. Yeah it is black metal, but not in any way you’d be used to. This track is as much gloomy post punk as it is black metal, this collaboration of styles feels at once jarring and totally natural. Scattering distortion gives way to eerie clean tones, while the grandiose weirdness of ‘Sophia’ is uplifting and yet really grim at the same time.

‘Mare’ is a record that even after multiple listens I am still trying to dissect. The eerie darkness of ‘Dreamtide’ pulls one way while the bleak ‘Darkness’ closes with climbing melody, tension building swells and even a bit of organ to cap off this grand adventure. Anael’s work here is mesmerising, complex and most of all difficult to fully appreciate on an initial spin. But scratch away at that surface and you’ll find a truly affecting record underneath. Spellbinding.

https://anaelofficial.bandcamp.com/

Anael – Mare PRE ODER

Review: Perilaxe Occlusion – Exponential Decay

Review by Sandre the Giant

Toronto’s Perilaxe Occlusion put their debut ‘Exponential Decay’ out on cassette and CD right at the tail end of 2020, and Blood Harvest Records are giving us a proper 12″ vinyl release of this three track void of death metal carnage at the end of April this year. Strap in folks, this is heavy…

‘Death Bias Alpha’ is equal parts chugging monstrosity and flailing barrage of brutal blasting and guttural void growls. Considering there is only two band members, Perilaxe Occlusion don’t half know how to make an almighty racket. Sodden in cosmic distortion, the guitar work is excellent; weaving memorable melody within a mighty brutality. ‘Skeletal Bifurcation’ gives you more of the same with tight songwriting holding together a collection of riffs that threatens to spill over at any moment. You’ve got a little touch of Immolation-weirdness at times, and there’s something kind of science fictiony about the atmosphere too. But it’s much more ‘Alien’ than ‘Star Trek’. Dark, terrifying and inevitable, especially as the track fades down to a sludgey crawl at the end, oh my.

Closing with ‘Rigid Body Displacement’, which cranks up the doom to a suffocating degree at times and provides some truly jaw dropping moments of death metal glory, I have discovered myself an absolute gem here. ‘Exponential Decay’ is the kind of demo release that I love, get in on the ground floor on something special and follow the ride until the end. Bring more of this to me!

https://www.facebook.com/BloodHarvestRecords/

https://bloodharvestrecords.bandcamp.com/album/exponential-decay

https://perilaxeocclusion.bandcamp.com/releases

Review Slimelord – The Delta Death Sirens

Review by Sandre the Giant

Originally published here: https://www.thesleepingshaman.com/reviews/slimelord-delta-death-sirens/

Originally released back in June of 2019, (ah those good old pre death-virus days), the debut EP from UK death/doom merchants Slimelord has seen a rerelease through Sewer Rot Records last September on cassette. That sold out rapidly, and so it has fallen to Dry Cough Records to enlighten the masses to this EP, and they will be releasing a vinyl edition in late March of 2021. It is a perfect time to revisit ‘The Delta Death Sirens’, and marvel at the darkness within…

Opener Insectoid – The Summoning may only be just over a minute long but it manages to set a scene for you rather well. Spacey effects fade in and out, creating a gnawing dread that something otherworldly is on its way. Magical? Cosmic? Horrific? Well, Demon’s Blood/Horrible Bog answers that with a tortured riff from the depths of the swampiest swamp.

I was kind of surprised when I saw this was death/doom and yet the tracks weren’t seven to twenty minutes long. But Slimelord have definitely nailed the sound. Each guitar riff feels like it is being wrung from pain itself, while the guttural vocals belch pure nihilism through that iconic feedback howl. This is the kind of song that when I hear, I instantly say to myself ‘hook this shit directly into my veins and let me LIVE it!’.

Amphibia follows with even more of this agonising, glorious brutality, drawing deep from the fetid wells of early Incantation. Slimelord have found a way to recreate those early 90s death/doom atmospheres brilliantly, and it never feels artificial.

The brief, eerie pause before the riffs come back in is an awesome pacing moment, while the title track builds itself upon its driving opening riff and uses it as a lynchpin to mold a monstrous piece around. The bending, swooning melody that sidewinds its way through this track is deeply unsettling, and when Slimelord show their first true turn of pace, the death metal presented is intense and dense. Also, give me ALL of that solo agony coursing through the end.

The Delta Death Sirens shows in its eighteen minutes exactly why it has needed to be rereleased so many times. Slimelord‘s work is special, and hopefully there will not be too long to wait until a full length follow up is due. Sign me up for that, because if it has the swampy, sullen fire that this has, it’ll be staggering.