Posthuman Abomination – Transcending Embodiment (2018) – From the unmistakable pounding of the drumkit in the beginning, I can already tell that this is a fine example of potent brutal death. This time we have Posthuman Abomination, a new act formed from members of several other Italian death metal acts, to play more Italian death metal. Suits me just fine, especially considering the electrifying performance and Devangelic drummer Marco Coghe in particular. As one might expect for haywire drumming acrobatics, the guitars get drowned out just a bit – but surprisingly not enough to become completely buried. The vocal approach is just as furious here as the drumming, amounting to a performance that literally caused me to stop writing the review for a minute in order to stop and play on an imaginary drumkit. Transcending Embodiment is one of those no-bullshit BDM experiences that offers such a fantastic display of skinsmanship that it almost became euphoric to play along with. Though not only that, because Posthuman Abomination offer such a dynamic approach to what is often seen as a mere backbone in most bands – and it’s literally what my ears and following along with the whole way through. If there’s any major qualms that I have here, it is that the performance is slightly marred with opening sound clips, which seem to take me out of the action. There’s a definite degree of technicality in the not only the drum work as I’ve noted several times already, but in the unconventional guitar work; something I just happen to find fucking brilliant. The whole album sounds like some sort of well-oiled machine, but it doesn’t come without purpose. There are so many acts out there seeking to merely throw paint against the wall and see what sticks, but this record is definitely a product of creativity and is not afraid to shift the tempo when absolutely necessary to keep listeners engaged – just in case you weren’t already by it’s jaw-dropping approach to artistic brutality. Transcending Embodiment won’t reinvent the wheel for the genre, but it’s a damn fine listen. After jamming everything from Malevolent Creation in order to pay respects to what I’d consider to be an amazing frontman in Brett Hoffman, it’s not unusual to hear some influence here. These guys definitely carry that formula to a whole new level and BDM at least, is doing quite well in this day and age. What an amazing debut, and I can only hope for another great series of performances in the future. There’s really something here and you’d have to be a fool not to notice it. Check the disc out at the link below.
(9 Tracks, 31:00)
9/10
Kill Everything – Scorched Earth (2018) – From the very start of this one, I like the fact that I can actually discern the vocals. I’m not really sure why that is, but the first few lines of the band’s opener and namesake cut “Kill Everything” were extremely audible. I have to say, this music breathes on a whole new level when you can actually understand it. That being said, this kind of vocal edge also kind of sounds like it’s coming from grumpy old Grandpa Stu, who got woken up out of sound sleep and just starting grumbling along with a death metal band that was playing on the stereo. Maybe it was the loud thump of that stereo that woke him up! In any case, this effect doesn’t make for the most memorable vocal performance, even though the rest of the band provides a good kick in which to deliver these lines. I also have to say that from what I’ve heard this far in (on the re-listen) I’m discovering that Kill Everything are a rather slow act. If you like a bit more pace to your brutal death metal, you may find something here and that’s perfectly fine. The drumming is also not nearly as frantic as most bands in this genre, which is actually kind of refreshing. There’s not much going on in the guitar department though and perhaps Kill Everything might be a bit too slow. Every once in a while something seems to spark up, but not nearly enough to keep me entertained. It isn’t that the drummer isn’t showing his chops, but perhaps there’s just not enough here for me to chew on proper. One of the problems with this genre is that so many acts seem to sound the same. I mean, I just covered Posthuman Abomination which floored me, so when I hear Kill Everything, I feel like their style of brutal death metal is just sort of watered down from that. The band focuses on more of a groove-oriented mesh of slowdowns, so I guess I could say that this makes them a standout from their peers, but I’m not sure how many people are going to be in the mood for a slow kill these days. There’s certainly nothing wrong with it though and I’m sure that these guys will only get better with time. Right now though, I’m just not hearing anything that makes me willing to drop anchor. That being said, you may find something in it and the link for further observance will be provided below.
(8 Tracks, 30:00)
6/10
Aborted Fetus – The Ancient Spirits Of Decay (2018) – Here we have Aborted Fetus with yet another slab of death and this one actually has some structure that goes beyond the normal blast and gurgle. Why, I was actually a bit excited to hear strong grooves and a solo right at the very start, which is not something you get with a lot of these kinds of bands. As we continue, we see that the guys are dedicated to a classic death metal experience here, rather than just pure brutal death metal. That’s a good thing, as Comatose could use more death metal bands in addition to it’s roster of blast and gurgle. That isn’t to say that Aborted Fetus doesn’t blast, they just don’t feel the need to bury the guitar in blasts to the point where as a listener I can hear nothing other than the drums and vocals. So it’s definitely more of a Dying Fetus, Deicide or Cannibal Corpse style sound, rather than technicality all over the place. This is the kind of thing I’d like to hear live, because there’s just so much to like. Even if the guitar solos don’t quite seem to be perfected yet (there’s a lot of rawness in areas) I still think that the band have enough within the killer grooves and death growls to make their point known. Aborted Fetus are far from frantic here, with vocals raised to the front and the rest of the act thrown into the back, but if you blast it as loud as you’re going to then I’m sure that you won’t have a problem with what’s been offered here. I don’t want to say that the record is full-on groove, but that really does seem to be the rule of law aside from a few moments of speed within the occasional drum blasts. That works out fine for me, though as The Ancient Spirits Of Decay turns out to be a pretty fun album in the end that doesn’t forsake song structure for insanity at 1000 BPM. Yes, it might be pretty slow to modern listeners, but this is the old style of death metal and you don’t have to have the attention span of a goldfish to get it. As the record goes on, the solo sections get a little better but they’re really not an issue for me and I’m just kind of glad that they’ve decided to add them. The record actually sounds like a tribute to the fathers of this genre and I can’t complain with a sound that seeks to emulate that which this entire style of music was based on. I’m sure there’s a band out there with some complex medical procedure for a moniker that you’d rather be jamming, but this will do for me. The Ancient Spirits Of Decay certainly isn’t an approach that I’ve never heard before, but it comes off like an old hooker who hasn’t quite lost her beauty and is still good at what she does. You’re not going to kick her out of bed anytime soon. These guys are still good at what they do and there are more than enough tracks to illustrate that, whether you get your jollies off with “Nailed To The Cross”, “Rack Of Torment” or my personal favorite “Genital Torture By The Alligator Tongs.” I’m going to have to Google “alligator tongs” now to see what they’re referring to in that one. But maybe it’s those alligator tongs that make this old hooker so good at her job. We’ll never know until we try. Anyway, if The Ancient Spirits Of Decay sounds like something you’d dig, then you can give it a listen at the link below.
(13 Tracks, 48:00)
8/10
Abhorrent Deformity – Slaughter Monolith (2018) – Abhorrent Deformity definitely took a different approach to death metal with this one, as there are some very modern core elements to be had here. Believe it or not, the record actually contains a hefty amount of breakdowns and what can almost be construed as hardcore gutpunch vocals. Though not a bad approach, and certainly rather passionate, I feel that the band are trying very hard to appeal to both the brutal death metal crowd and people who dig bands like Oceano. Not that Oceano were ever bad, but this is clearly littered with every kind of trendy gimmick that tech-death and deathcore heads have masturbated over since the mid to late two-thousands. It is is very difficult for me to consider this death metal. I mean, I guess it is – and while I appreciate the amount of energy in the vocals once again, it just seems to leap right over my age bracket apparently. I guess they can hand me the “aging metalhead” card after this one. The guitar solos are pretty decent on it, the sound is quite clear and it doesn’t have the raw edge that Aborted Fetus did. The band also tries a couple of obscurities, like the creepy riff patterns on “The 2016 Esoteric Model” but I keep thinking that I might not be the intended audience for this one. So if you didn’t dig the Aborted Fetus disc I covered yesterday, than maybe you’ll find what you’re looking for here. I can say that the disc is inventive, but it sounds like a whole of nothing in retrospect. Even though there are some rather intriguing riff-lines, I find that the deathcore approach to vocals here just kind of rubs me wrong. Passionate, but a bit overbearing and maybe a little too much “bro” for me. Like, I feel that I need to be lifting at the gym (which really, I should be doing that anyway with my scrawny ass) in order to appreciate this album fully. There needs to be a forty-five pound bar with weights attached to it in order for me to get this one. If you are on Athlean-X however and somehow reading this review while benching three or four-hundred pounds like Charles Atlas, then maybe you’ll find something in this at the link below.
(12 Tracks, 30:00)
5.8/10
Flesh Hoarder – Homicidal Necrophile (2018) – Though admittedly a bit soft for death metal and extremely raw by most counts, these guys definitely carry the classic sound of brutal death with them. It’s not as polished as Aborted Fetus and doesn’t sound as mainstream and trendy as Abhorrent Deformity did. The guitars seem a dull roar, but the drums are quite active for the most part the vocals seem to keep up the pace pretty well. The bass buries much of the sound, but it is also where the band is at it’s most thunderous. At least these guys attempted a trippy sort of instrumental cut with “Abuse Of Corpse” that shows a potential for greater things down the road. Even though the guitar doesn’t really seem that memorable, there are more than a few nodes of prog and technicality that might make the band stand out if they weren’t so buried in the back. This record is so warm with bass that it could be used as a space heater. The rawness of the performance actually sounds a mere step up from a demo, which isn’t really saying much in hindsight. While I don’t dislike what is offered here, it is not really all that memorable and just feels like toast with a bit of jelly. Homicidal Necrophile is mostly dry bread, but it has a touch of flavor here and there to keep it from becoming a total slog. The audio clips are the only other segment of the listen that manage to keep it interesting. If you still want to check out the effort that has been offered here however, you can give it a listen at the link below.
(11 Tracks, 38:00)
6/10
Drakhar – The Endless Howling Abyss (2018) – An extremely raw offering of doom and death, Drakhar sent this one personally (it was marked “Grim”) for my observation. I honestly have to say though, I haven’t heard a production value like this since the early nineties and that doesn’t actually bother me any, as I can tell that the band were going for that kind of bass heavy sound, in which the bass can be felt even more than the drums in some instances. “Traversing The Abyss” sounds like a cavernous mist of black smog, although there are some touchy melody nodes here and there to perk it up from the caverns. Those can be discerned surprisingly well in the mix too, which astounds me. “Swallowed By The Dark” is next, offering a more straight-forward style of crypt-friendly death metal, complete with a slight oomph before rolling into groove. Groove is a word that I’ve said quite often at The Grim Tower and I’d guess I would be pretty guilty of overusing it. Though I can’t help what fits and here groove is definitely the name of the game. “Eternal Disintegration” starts out weirdly, but it is this weird riff that permeates the piece and really adds some uniqueness to what would otherwise be a straight-forward cut of death metal. That same sense of weirdness also makes up the album closer, “Fading Into Emptiness” which later becomes an almost punk-influenced bit of death until some quite unexpected vocals come in later on the piece. What kind, you ask? Well, after it observes what seems to be a surf rock influence and touches back into the weird, some clean howls appear right before a few nodes of Sabbathy doom to end the whole thing out on a good note. I can’t say that I’m a fan of the clean howls and commend him for attempting that, but he’s no Messiah Marcolin. In any case, I’m quite pleased with that I’ve heard here and despite the dungeon-like production quality, there’s some real merit to be found on this one. I can only expect the band’s sound to become further refined with the next one. Just no more of those crazy howls, please. I wasn’t sure what to think of that. If this kind of cavernous death/doom gone experimental sounds like it would be your thing, then give the disc a listen at the link below.
(4 Tracks, 19:00)
7/10
Shroud Of Despondency – Decimation and Introspection EP (2018) – This EP is what remains of a split that didn’t quite occur, yet offers an extra four songs in addition to the band’s latest disc Cull, which I may review at some point. Though I couldn’t get into this one after first glancing over it via my cell speakers (which really are shit and now this I know) I definitely find my interests a bit more peaked by the piece. A strong black metal performance begins in “With Malice” which carries fair amount of frost in addition to it’s highly calculated song structures. What keeps my interest, is the fact that song keeps moving and doesn’t stick to just one approach. The six minute playing time allows more than enough room for the song to breathe properly and explore even more territory throughout. “Swarms” overflows with melody as potent rasps work to decorate the chilling riffs in just the way that klvtists would fellate themselves over. A solo then comes in unexpectedly to later become a major backbone in the song. After a few thundery bits, we have what I might describe as light, acoustic tremolos to build atmosphere right before the next big blast. Ultimately, it is another strong piece and creates nearly a formidable EP at this point. Gothic organs come in with “Removal Of The Head” which changes the whole style to something more like classic Graveworm, a sound that excites me greatly. With trudging doom riffs melding together with piano and a mixture of death growls and blackened rasps, I’m almost reminded of the band’s funereal album, a disc that I’m glad did not truly mean the end for this project. I must state that “Removal Of The Head” is simply more than just creepy Gothic organs though, as several song structures are utilized and the piece almost reminds me of early Cradle Of Filth. This is a sound I’ve quite missed, bands just aren’t doing it anymore in favor of all the 1000 BPM technical shit. Unfortunately, the whole Goth trend has pretty much phased out and the underground isn’t allowing this kind of music to thrive proper. Choirs can be heard later in the piece, which almost seem to distort the sound a little for me. They could have been shoved to the back a little bit, but this is a minor nitpick. Those same choirs begin the final track on the disc, “Before The Lamentations” which sees a major uptick in instrumentalism as it makes it’s presence known as a rather massive instrumental. This heavily folk-inspired piece is certainly not something I would have expected for the denouement, but it seems to fit perfectly well and quite a bit of thought was put into it. Aside from folky, acoustic tremolo riffs, I can also discern some rather fierce piano playing in addition to tribal drums. With Shroud Of Despondency, I truly never know what to expect and they’ve given us a treasure of sounds within this powerful extended play. Whatever band missed out on this opportunity, they should feel pretty upset right now. It would have been great promotion to be put alongside this. Hell, we would have done it. In any case, if you are indeed interested in this EP (and I’m sure you are) then please check it out at the link below.
(4 Tracks, 28:00)
8.5/10
Battleroar – Codex Epicus (2018) – Manilla Road may have lost their key guitarist and prime architect Matt Shelton, but Greece’s Battleroar prove that the spirit that lied within their brand of epic heavy/power metal continues on through the ages. With their fifth full-length Codex Epicus, there is definitely an air of Manilla Road worship and all the greatest parts of it. With a decidedly crisp, yet classic feel in the production value; this hour-long mixture of bombastically epic soundscapes and thundering heavy metal entwined with slight acoustic moments proves that this genre is far from faltering. The album is comprised of nine tracks, most of them being over the five minute mark and sometimes encroaching a bit over the seven-minute mark, which is common for what many would say is a doom influence. Yet in this time, much is explored in the way of texture and listeners are getting far more than a simple verse/chorus from much of the album. Opener “We Shall Conquer” does a phenomenal job of showcasing that, with it’s might being displayed to the listener right from the start. “Sword Of The Flame” might not be the most punchy, but it comes with a pulse-pounding solo effort that listeners will surely remember. “Chronicles Of Might” is a bit more pompous, particularly in the chorus; but we should expect nothing less. I didn’t expect a solo section to hit there to be honest, but it certainly beefs up and already monumental piece, especially when the choir backs the solo. How much more epic can you get? Where are those classic D&D comic reprints I bought last month? This record would be a great to jam while reading them. Then we get to “The Doom Of Medusa” which is by far one of the fiercest tracks here, further embodying the “epic” nature of this album. In life, few things are as grandiose. “Palace Of The Martyrs” keeps the mood along with “Kings Of Old” which shows that Codex Epicus doesn’t intend to pull any punches – or does it? As we continue listening, an unexpected bit of flute playing opens up arguably one of the greatest epics here, “Enchanting Threnody” which is a phenomenal way to top it all off. But Battleroar didn’t want to leave us with just seven tracks and an instrumental intro, because they manage to pull off one more killer cut with “Stronghold” which ends the album on just an epic note as it began. If you’re looking for the sound of true to form classic heavy metal majesty without a sign of core to be had, then you need look no further than Codex Epicus. I would say “they don’t make them like this anymore” but with this record and a few others I’ve been jamming over the past few weeks, I beg to differ in the most thankful of ways. Sure, modern sounds will continue to mutate in order to fit modern trends, but there’s nothing trendy or modern about this one. Battleroar have crafted a classic epic heavy metal record with all the trimmings of doom in an era that has long since passed the monstrosity that was dubstep. To me, that is monolithic. The fact that classic sounds can still be performed with as much merit and precision as the originals released nearly three decades ago. While it is still unclear as to whether or not Manilla Road will continue (and I do not think they should considering all the releases that they’ve given us, as well as the fact that the progenitor died and I’d hate to see them end up like GWAR, which is still arguably missing the politically incorrect wit and humor of David Brockie) we still have acts like Battleroar to show us that the classic sound is far from being vanquished by the barbarian hordes.
(9 Tracks, 54:00)
8/10
King Heavy – Guardian Demons (2018) – As has already been mentioned at Indy Metal Vault, I find myself having the same concerns with this disc after the very first listen – rather, the very first song – rather, the very first line of vocal. Putting it bluntly, I feel that I have to ask frontman Luther Veldmark, “What in the hell were you thinking?” It honestly sounds like the man was singing a completely different song than what’s being performed on the album more often than not and it comes off with a decidedly amateurish flair that I wouldn’t expect from an act like this one. Musically, it sounds like Candlemass more than I could ever imagine and that’s fine, but with vocals as incredibly off-key as this, it feels like I’m getting a foreign knock-off of a great doom band, rather than a Chilean rendition of doom that can actually compete with the Swedish heavyweights. It even comes off laughably comical, in ways that made me pine greatly for an end to the piece. I can’t say much for the music as a whole as it didn’t leave a real mark on me, (but would have been a little better with a vocalist on-key) but I do know that when the “I’m sinking/I’m drowning!” line kept repeating, I started to crack up and even began to mimic it mockingly. This will probably go down as one of the worst vocal performances that I’ve heard on a doom record in my entire life. Guardian Demons is everything not to do when making a doom album and is recommended listening for all budding doom bands around the world. I haven’t given this rough of a score in a long time, but there’s very little to recommend here and I wouldn’t have released it without at least re-recording the vocals with another frontman. I definitely can’t recommend this for listening purposes, but it is a great educational work in what not to do.
(6 Tracks, 43:00)
4/10