Posts Tagged ‘Australia’
Tags: Australia, Death/Doom, Illimitable Dolor, Review, Self Titled, Transcending Obscurity
Australian death/doom lords Illimitable Dolor have risen from the reamaining members of legendary icons The Slow Death, paying tribute to their deceased former vocalist Gregg WIlliamson with this self titled record, full of heart wrenching death/doom songs. It is due to be released in March by Transcending Obscurity, and raises a miserable glass to the memory of their lost friend.
Opener ‘Rail of Moon, a Stone’ is monolithic, painful and haunting. Vast riffs crush melancholic melodies, while a powerful roar intones ragged emotion. Illimitable Dolor show the strength brought by very real grief and pain, and how it can lead to music of fragile beauty. It seems strange to call these kind of massive, weatherbeaten monsters of songs fragile, but the feeling of loss is palpable. ‘Comet Shines or Dies’ leads with weeping guitars and ghostly keys that brings to mind early My Dying Bride, or Mournful Congregation.
The dark majesty of ‘Salt of Brazen Seas’ is enhanced by potent organ melodies at the start, and the mourning growls mix well. In fact, I don’t know if I’ve heard organ used this well since Asva’s ‘What You Don’t Know is Frontier’. That’s one of my favourite funeral doom/drone records ever so that’s a huge compliment. ‘Illimitable Dolor’ is frontrunner now as my favourite doom record this year; a heady mix of the heaviest of riffs and the most fragile of emotions coming together to form a majestic whole. Just listen to the sobbing ‘Abandoned Cuts of River’ and try not to be totally absorbed. I dare you.
Tags: Australia, Bastardizer, Blackened Thrash, Carvetii Productions, Enforcers of Evil, Review
I just got a hold of the rerelease of Australian blackened thrashers Bastardizer’s ‘Enforcers of Evil’ from Carvetii Productions, on a brand new shiny cassette no less! It seems that, outside South America, Australia seem to do the whole Bathory/Venom/Celtic Frost axis worship a great deal of credit, and Bastardizer are no exception.
This is a truly raging slab of blackened thrash metal, with the ethos summed up pretty accurately in the killer opener ‘Bastard, Bullets, Bitches and Beer’. Almost entirely forgetting anything was invented after about 1983, taking the Venom blueprint and dragging it south of Heaven,c ranking up the intensity and increasing the rawness tenfold. The savagely catchy ‘Bathory and Lust’, the rampant title track and the rough and ready ‘WWIII’ are all tremendous tracks and pay tribute to the vibrancy of the Australian scene.
The awesome, early Sodom riffs that populate ‘Eureka’ crop up many times, with a grim Teutonic flair shredding through ‘Pentagram of Pleasure’. Bastardizer strap Motorhead to Sarcofago and see what happens. Turns out what happens is infectious, rabid thrashing black metal that doesn’t rely on gimmicks, controversy or fashion. There’s a shit ton of bands like this out there, but none come close to the filthy fun that you get on this record. I fucking love it, and so should you!
Tags: Australia, Heaven Bled, Hell's Headbangers, Hobbs Angel of Death, Review, Thrash
Australian underground legend Peter Hobbs returns with his eponymous band, Hobbs Angel of Death, for his first new release in a long long time. Over twenty years to be precise, and a full 28 since his classic self titled debut. But, Hobbs Angel of Death are not back as a mere nostalgia kick. If ‘Heaven Bled’ is anything to go by, the underground king has come to regain his thrashing crown.
Opener ‘Il Monstro di Firenze’ is a fearsome slab of Slayer worship that pulls no punches. It’s fast, there’s murderous riff after murderous riff and a killer solo. Despite all the potential for a modernisation of the blackened thrash style that Hobbs pioneered, this still kicks like it’s the late eighties and nothing has changed. It’s all the better for it; the vintage rage of the vibrantly melodic ‘Walk My Path’ is ludicrously infectious, while the early Sodom-induced battery of ‘Sadistic Domination’ is sure to keep every pit monster happy.
The thing I like most about this record is its unapologetic nature. Hobbs plays like early Slayer never went out of fashion, and to be fair I don’t think it did, but it’s welded to a beautiful production job that makes every chainsaw riffed moment very clear and crisp. It’s the most polished bit of raw riffage you’ll see this year. The moody ‘T.F.M.F’ spasms from gloomy slow paced sections to rapid fire thrashing goodness without a moment’s notice. Little moments like that are what really get you into this record, and the lack of fucks given about any kind of modernisation is frankly refreshing. Get yourself a copy and get yourself fucking thrashed!