Posts Tagged ‘Switzerland’

Euclidean - Quod Erat Faciendum

The debut full length from Swiss black metallers Euclidean is a couple of years old now, but I’ve been doing a lot of catching up on old music in my collection recently and ‘Quod Erat Faciendum’ caught my ear. Translating to ‘which was to be done’ in reference to geometrical constructs, you can tell that this is going to be a bit of a thinker.

The creeping, almost industrial ‘Increatus’ feels more like an introduction to this album, even at almost seven minutes long, and ‘Numbers Hold Sovereignty’ maintains the eerie vibe. The whole album has a cold, almost calculating feeling to it, clean guitar melodies skipping atonally over snarling vocals while other parts soak you in distortion drenched waves of riffing. More than half of this record is taken up by three tracks, but the ebb and flow is fascinating, and the hour and fifteen minutes flies in. You’ll be enthralled by the more melodic, haunting moments that lurk beneath the roar of more ferocious black metal traditionalism. Where Anaal Nathrakh weld black metal to grindcore and create chaos, Euclidean create cold, soulless beauty through elements of post metal and dark ambience.

By the time the clattering, furious majesty of ‘Numbers Held Soverignty’ comes to an end, you’ll have experienced a journey through music quite unlike any other. If you could imagine the soundtrack to Blade Runner was black metal, that’ll give you an idea as to what ‘Quod Erat Faciendum’ sounds like. Grimly futuristic and mesmerisingly dark, Euclidean have captured a sound that feels just different from everyone else. I’m so glad that I found this hiding away in my files, because it is fantastic.

Eggs of Gomorrh - Outpregnate

The follow up to the terrifying ‘Rot Prophet’, Eggs of Gomorrh are releasing their new EP ‘Outpregnate’ this month through Krucyator Productions and, like the hellish cover art, something ugly and disturbed lies within.

The ominous ‘Gnaruris DCCXIV’ introduction leads straight into a bestial display of savage black metal rawness, as ‘Deathinjekt’ stabs you directly in the throat with a rusted knife. Blastbeats thunder in the background, as churning belches of vocals fight with vicious riffing for supremacy. ‘Prophetyphus’ is a barrage of war metal, baring bloodied teeth and screaming black vengeance against life itself. The vocal switch from an impassioned rasping shriek to a gurgling growl with barely a thought, as if all the voices of Hell combined. A mere seventeen minutes of violence is completed with a suitably anarchic and blasphemic cover of Arkhon Infaustus’ ‘Domination Xtasy’.

Eggs of Gomorrh’s work is uncompromising, unyielding and laced with Satanic strychnine. ‘Outpregnate’ is a virulent, infected piece, wrought in Christraping black metal and forged within the fires of annihilation. Superb.

EGGS OF GOMORRH – Outpregnate

Hot on the heels of their 2017 release, ‘You Owe, You Pay’, the latest EP from Swiss slam crew Carnal Decay is another three tracks of brutal death metal designed to crush bones and smash brains. ‘When Push Comes to Shove’ is going to be released by Rising Nemesis Records on 7″ vinyl and digitally on the 20th July, as well as through a number of other records throughout the world, including the great UKEM Records.

The riff that opens the title track is absolutely fearsome, mammoth brutal death breakdowns bringing the world down one roar at a time. The earth shaking low end keeps the slam going, and the welcome lack of fucking pig squeals is an even bigger positive. Each track has its own identity, with ‘Food for Thought’ having a waspish, Hate Eternal quality to it, and ‘We All Bleed Red’ crushing with a more European death flavour, like Hour of Penance. Variation is the key for this kind of metal, and here we’ve got fast, slow, mega slam and shredding speed. It adds up to an EP of startling difference.

For me, brutal death is always best consumed in shorter formats and ‘When Push Comes to Shove’ never outstays its welcome. If anything, it only wets the whistle for more. I’ve spun this a number of times now, and each listen only reinforces the quality on show. Definitely worth seeking out.

Don’t tell me Invictus Productions have found another stunning band lurking in the underground to unleash upon the world? I’ve enjoyed a lot from this label recently, and Antiversum’s cosmos destroying debut full length ‘Cosmos Comedenti’ looks to be another fine addition. You fancy some warped death metal that looms straight from the jaws of infinity? Come with me…

It almost makes sense that Antiversum are Swiss, as they come from a place where the works of the mighty Giger are possibly spawned, and the hellish riffworld of Tom G Warrior. Opener ‘Antinova’ is immense, vast, challenging you to observe its scale. A crushing monolith to death, infinite death, not just mere physical mortality. ‘Cosmos Comedenti’ is beyond what we can conceive as the end. Dissonant, disturbing, a shape shifting piece that suffocates under disjointed belchs of vocals, the almost ritualistic tribalism in the gloomy ‘Chao E Orta Est’ is terrifying.

Antiversum feel like they’re searching for a place in our space. In the same way bands like Portal or Mitochondrian are reaching beyond the ‘constraints’ of the genre into spaces unknown, Antiversum are reaching in from the outside, looking for death metal as an anchor to hold themselves steady in the currents of madness. The harrowing closer ‘Nihil Ad Probandum’ groans with black energy, writhing out into the empty void. ‘Cosmos Comedenti’ is a record that will drain you of everything inside. It’s worth every moment.

Esoteric Swiss demons Dakhma thrilled me with their jarring blackened death upon their last EP, ‘Asiwhad-Zohr’ recently, and ‘Passageways to Daena’ is a reissue of their debut record out on Godz Ov War Productions, complete with two new tracks. This is more spiralling down the hellish rabbit hole, the hideous scraping of the endless void.

Opener ‘Barashnum (Defiled by Dead Flesh)’ is a black hole of Portal and Mitochrondrian madness; a space filled with blackness and insanity. Intensely dense in its execution, with but the barest of melody emerging through waves of hellish noise and murk. This is ugly and dissonant music, designed for a bloody, back alley brawl between Lovecraftian entities. The savage ‘Ascension’ and the esoteric ‘Ascension II’ is a one two hit that will melt into your mind and start dissolving synapses.

‘Passageways to Daena’ is an expression of pure nihilistic intent, sitting somewhere in between Blut Aus Nord’s grimy black weirdness and the howling wind tunnel of Portal. The ambient sections are equally unsettling, such as on ‘Chinvat’, which thrums with a malevolent power hidden deep within the earth. Dakhma may have strived for many things during this recording, but creating one of the most unsettling albums I’ve heard in ages must’ve been high on that list. ‘Passageways to Daena’ is a place you must fear to tread, but tread you must…

Morgoth. Incantation. Two iconic bands in death metal and, particularly Incantation, two bands I have waited a long time to see live. Morgoth haven’t even played Scotland for 26 years. The last time they played here, I was 4 years old. FOUR! So when this awesome tour came around, the £16 I spent on a ticket was a ludicrous bargain. The venue was Audio, a tiny sweatbox in Glasgow, which mean you could get up close and personal with these killer acts.

My resolution for this year was twofold; make all efforts to see bands I had never seen before, and always be early enough for the support. The Killchain knows that support bands are not only the future headliners, but also need the financial and moral support to continue in their careers as musicians. Three unknowns for me kicked off with Swiss bruisers Omophagia. Their Origin-like assault was absolutely superb, and their dapper bloodstained suits gave that classy serial killer look. The venue was sparsely populated at this time, but those early birds like me witnessed a battering of supreme quality. CD purchased, and no regrets since!








Up next were Italian death/thrashers Methedras, who were another excellent live act. Their blend of early Sepultura and more modern thrashers like Arsis was excellent, and damn could vocalist Tito Listorti get some serious growls. Guitarwork was stellar, and again the small crowd appreciated the work. I met Tito after their slot and showed my appreciation by making a purchase. They are just as excellent on record.

Unfortunately for the third support, Darkrise, I had run out of cash to support them, but don’t let that make you think they weren’t good. They were, despite some nagging vocal issues that led to Thibaud Ducrot being inaudible at points. Their technical death metal reeked of a latter day Cannibal Corpse influence, and it was a pummelling half hour set from them.

But now came the big guns. As good as the supports were, they were destroyed by the unfathomably heavy death metal of Incantation. It was simply crushing, and they featured classics from a range of albums, from ‘Diabolical Conquest’ to ‘Mortal Throne of Nazarene’, and including the devastating title track from ‘Vanquish in Vengeance’, they eeked out Morgoth as my band of the night, but only by a smidge. Disarming frontman John McEntee is one of the humblest musicians I’ve ever seen live, and seems genuinely happy that we were there to support old school death metal. We were John, we were!

And finally, Morgoth return after a vast absence to a Scottish stage. They were devastating too, their primeval death metal assault bringing to mind Obituary and Autopsy. Riffs were dense, the vocals were rabid and each song wrung the most evil of atmospheres from the riff. Morgoth are a criminally underappreciated band, whose classic records are as important to death metal’s future as they are to its history. As the gig wound down, there were less and less people there as trains were caught, or people left after Incantation. What a mistake. Miss that train, stay to the end and watch a legend return with a triumphant performance. I’m glad I stayed to the end, because Morgoth slayed.