Still anxiously awaiting a follow-up from Cult of Daath’s promising debut, “The Grand Torturers of Hell?” Antinomian Records continue their limited releasing of obscure and previously hard to find demo material by placing Cult Of Daath’s “Cover of Darkness” and “Triumphant Holocaust” demos, along with 1 brand new rehearsal track never before released, on one convenient CD. Fans of Hellhammer, Beherit and Von should indeed take note of the blunt and barbaric simplicity of C.O.D. They certainly don’t blaze any new ground with their sometimes plodding, but often destructive sound, but the underground charm and lust for power chord driven dedication and a barren, though burnt out vocal wrath spews hatred throughout their pummeling songs. Certainly more advanced and utilizing a wider array of riff ideas in each song, C.O.D., especially on this demo material, put me most in mind of Von with their blind rage vocal attack. Cult of Daath do break up the blasting fury of their formula with interesting melodies, or the occasionally poignant Celtic Frost plod/rush of powerful movement in the form of a grooved out power chord progression. “Under the Cover of the Triumphant Holocaust” will appeal to fans of unrelenting war metal and even to people like myself who really need to be in the mood for this style of extreme metal, I will say that Cult of Daath break up their ideas and attack effectively enough to keep me interested enough to want to sit through a full-length’s worth of music and still have enough ambition left afterwards to hit play again. This CD features interesting artwork and a unifyingly good sound production to tie both demos together and allow this band to kick everyone’s ass with a leather and spikes clad return to the old school of barbaric death metal. – Marty
ANTINOMIAN DEMO SERIES
Cult of Daath – Under the Cover of the Triumphant Holocaust
•January 3, 2009 • Leave a CommentAtrium Carceri – Cellblock
•January 3, 2009 • Leave a Comment
Atrium Carceri create a rather cinematic style of Dark Ambient, rich textures, with subtle percussive elements, and the crackling and creaking of activity from the shadows. This release appears to focus on mental institutions, and the dreary qualities in the music, and precarious beauty in some of the melodies that arise reflect that well. The pieces are deftly constructed keeping a rather even keel in tone, but incorporating some nice detail sounds, and the production is pristine so every distinction can be made. The use of simple beats at times, synth melodies at others mixed with the layered texture work keeps the album moving forward, and most of the twelve tracks are quite brief. Some in fact so brief that I would have liked them to continue on for another minute or two. “Cellblock” is a moving listen, and easily one of the more stirring releases I have heard from the newer wave of Cold Meat Industry projects in that it does an excellent job of painting the picture and setting an environment. It carries a haunted melancholy through the entire record and builds it up through the delicacy of the details with genuine effect. – Scott
COLD MEAT INDUSTRY
Cryptopsy – None so Live (Montreal 2002)
•January 3, 2009 • Leave a Comment
With new vocalist in tow, Cryptopsy have reemerged from their frontman turmoil with a live album to whet all their fans appetites who are awaiting their next technical firestorm… or is this a get out of label contract quick card? Only the unknown truly knows. It would take a true fan of this band to get excited for a release such as this. The sound is decent enough, but Cryptopsy aren’t Iron Maiden, so track after track of technically impressive, though unmemorable death metal does little to stimulate the desire to hear this material outside of the studio. Ever see this band live before? Every time I have, there has been a handful of people screaming for “Slit Your Guts”. No other track in their arsenal… just “Slit Your Guts”. This song comes from a time where Cryptopsy was far less intricate, though they did mix up more insane moments with memorable riffage. Maybe they should listen to their fans and try to write something that can stick with a person. Once again, the musicianship is right on, but new screamer Martin Lacroix seems to have the same forced and powerless lows that his predecessor Mike DiSalvo did. Face it… Thus far, Lord Worm has been Cryptopsy’s most deadly weapon and as their music becomes more over the top and crazy, they really need someone up front that can match the intensity. Martin falls short. “None so Live” falls short. – Marty
CENTURY MEDIA
Craft – Fuck the Universe
•January 3, 2009 • Leave a Comment
If I reviewed this album immediately upon recieving it, it would have easily been a glowing write up once again praising Sweden’s Craft for their unbending dedication to underground black metal and sonic suffering. However, the more I’ve spun “Fuck the Universe”, the more I have realized that the overall sound and delivery of the band in this case, is a lot more impressive than the actual music. I really like the spirit and mid-paced push of the first half of this album, for songs like the awesome title track and the sludged out groove found in “Demonspeed” pile on the contempt for life when mixed with the excellently razorlike vokills and thunderous production for this entire album. This thing sounds like a stoner rock album in the production department with booming drums and a buzzed out guitar tone that mirrors the room sound echoed in the drum kit. But after track 6 (there are 11 songs on this album), I really get the idea that Craft have shot all their more potent ideas on the opening half of this album. Repetition embraces redundancy as uninteresting riffs begin to wear out their welcome and the harsh vocals begin to fall into phrasing patterns that leave little to the imagination. Aside from this, another positive side to “Fuck the Universe” is that Craft have moved away from the total Darkthrone worship that permiated from “Terror Propaganda”. Even though I liked that album much better, it’s good to hear Craft ending their recording career with more of a sound that they prospected themselves. I still pop this in on occasion and do enjoy it, but there is no doubt that the overall songwriting this time around wasn’t as exciting as the band tried to focus on more simplistic, though maybe strange guitar lines that typically end a normal measure of standard power chord riff ideas, with a high strung and dissonant sounding note fill. This in itself becomes a repeated formula and detracts from the overall excitement of the album. Once again…. amazing sounding album from a band that had a good run of it. “Fuck the Universe” certainly isn’t without merit or interest… I guess I was just hoping for a sterner thrashing or even a more uglified glimpse into the suicidal vision previously displayed by this band. -Marty
SOUTHERN LORD/CARNAL RECORDS
Craft – Terror Propaganda
•January 3, 2009 • Leave a Comment
Here it is… the black metal release of 2002. Sweden’s Craft swing their mighty blades of torturous suicide with a proficiency that hasn’t been this effective since and album like “A Blaze in the Northern Sky”. There are definite parallels between Craft and Darkthrone found in the simplicity (though never lacking in potency) of the fast riffs, and the cold groove crushing down in the Frost-isms of their mid paced power rhythms, but Craft present a far more ghastly/pained delivery. Nox’s vocals retch and agonize in a way that heightens the intensity, and unyielding urgency in such volatile tracks as “Ablaze” and “Hidden Under the Skin”. Perhaps a cloud so dark looms over this material, that it is able to manipulate the emotions of the listener. As I spin this, my wife quickly departs the room as if repulsed by the suffering screams of a woman on this discs closing track. The production of “Terror Propaganda” is utter cold void perfection, giving the right amount of bottom end to an otherwise grating guitar tone that seethes in a vortex of dissonance. Thankfully, Craft have created songs with discernable rhythms, and clever hooks so that this album isn’t so alien that the listener is cut off, or denied access into the twisted world of this great band. It doesn’t get more traditional (in terms of black metal) than Craft, but “Terror Propaganda” is executed with brilliance and a complexity that is emotions based rather than technically challenged musically. I can’t recommend this release highly enough. Also available on LP, though limited. – Marty
SELBSTMORD SERVICES
Cradle of Filth – Damnation and a Day
•January 3, 2009 • Leave a Comment
Is it Cradle of Filth’s fault that they attract the superficial goth metal crowd that thinks this band is the pinnacle of extreme and evil? Not really. Even though this band upholds the fashion trends surrounding the fetish scene, Cradle of Filth has been what it has been since the beginning, give or take a few egos and the fact that they have stuck to their guns even after being signed by Sony imprint label, Epic Records. The big surprise to me is the fact that “Damnation and a Day” is actually pretty damn decent. Why is this? There are actually long music breaks on this album and many moments where Dani Filth isn’t plastering every note with his diverse, though often annoying vocalizations. He is in total check this time out, giving the music time to breathe and develop below him. Yes, the flashy synth work still bothers me, but this element isn’t as overbearing as it has been in the past and does have it’s place on “Damnation…”. The theatrical slant of this band compliments the concept this time out by keeping it simple. The female vocals are restricted to a few songs only and the music seems developed and really poignant as full blown classical/soundtrack caliber instrumentals sit comfortably with twisting and turning metal that runs the gambit of emotions and intensities. “Damnation and a Day” is paced very effectively which also keeps the listener’s attention span from faltering. I haven’t been able to tolerate an album from this band this well since their “The Principle of Evil Made Flesh” debut… to this day the only Cradle release that I will willingly listen to. With “Damnation…” Cradle will not disappoint their corn syrup blood thirsty fans and likely won’t grab the black metal elitist squad by the short hairs and demand conversion, but I think that after an honest listen to this CD, one has to at the very least give Cradle of Filth some respect, for they have learned from their past mistakes and have created a better album within their already determined and colorful sound. -Marty
EPIC RECORDS
Corpus Mortale – Succumb to the Superior
•January 3, 2009 • Leave a Comment
Even if Corpus Mortale play an unoriginal form of dark death metal, at least they avoid the often overused American scene moshisms, in favor of an undeniably “Euro” shot of de-tuned melody. “Succumb to the Superior” is very well produced, but rather dry to these ears as the guitar tone seems overly compressed, but the guttural vocals (too loud in the mix) and how C.M. walk the line between colorful moments of note based technicality and a more straight forward crunch, show off the potential of a band that has all the staples of the genre down and working for their advantage. The solo work cuts through the progressions with a stylish flair to offset the grotesque riffage with a hint of virtuoso dexterity. Nice tempo variations and overall content allows this 5 tracker to really grow on the listener and even though this band still needs to find their own sound, Corpus Mortale strikes out against the over saturation of black metal popularity with a decent old school death metal attack. – Marty
Corpus Mortale
Vesterbrogade 29F 3 tv.
1620 Kobenhavn V
Denmark
corpus@worldonline.dk
http://www.corpusmortale.com
Corpse Vomit – Raping the Ears of Those Above
•January 3, 2009 • Leave a Comment
People have told me how amazing this band is both live and on CD and until I heard this new effort, I can’t say that they blew me away the few times I saw them perform. Granted, both times were at Koshik metal fests and I was likely spent from a long day worth of sensory overload, or they were having an off night. Regardless, “Raping the Ears of Those Above” really clicked with me as it lurched along in technical death metal perfection. The clean bass tone burns up from the core of this material to empower the melodic greatness exploding from the intelligent brutality born at the collective mind of Corpse Vomit. The emotive changes and sensible tempo alterations inspire utter rage when the strenuous blasts swarm, only for cripplingly heavy mids to creep in and destroy with point blank brutality. The vocals are just as diverse and adventurous as the music they are trying to decompose. A discernable mid-ranged snarl effortlessly dips to cavernous lows and sear the speakers with blistering shrieks. Track 3 is most impressive for the doomy and interesting Autopsy influence that so expertly breaks up the song with a lengthy mid section. Even when Corpse Vomit keep the speed at bay, the busy drum work and piercing bass lines really do spice up every note or progression that this band creates. “Raping the Ears of Those Above” is a masterfully monstrous death metal achievement. I’m a new fan of a band that I wish I could have appreciated and understood a long time ago. Is Corpse Vomit the last hope for old styled US death metal? To these ears… YES! – Marty
BLACKENED MOON
Corporation 187 – Perfection in Pain
•January 3, 2009 • Leave a Comment
Where newer bands playing modern thrash (like the enjoyable Nail Within) incorporate an old style vibe with their Swedish death influences for well rounded results, Sweden’s Corporation 187 keep their sound firmly rooted in the present. One cannot deny the talent, but the overall sound/delivery is very tired to these ears as Corporation 187 stubbornly cling to “the Gothenburg sound”. Sensible harmonies and impressive fret board trickery spill over into the riffs themselves to emulate a higher strung At The Gates affinity and the vocalist drives this influence even closer to home with a definite Tomas Lindberg level of harshness. All talent aside, the similarity of Corporation 187’s sound to countless other bands in their area takes away from the fact that some of their songs indeed spew an interesting form of intensity and musical competency. I just can’t get past the unoriginality and often dry attack of a sound that burned out 2 years after “Slaughter of the Soul” polluted the creativity of most upstarts in Sweden and abroad. Skilled yet redundant. -Marty
WICKED WORLD
Conspiracy AD – Humanity=Destruction …the End is Near
•January 3, 2009 • Leave a Comment
Conspiracy A.D. strike me as competent songwriters as they combine the groovy side of death metal, with a more black tinged, offsetting aggression, but there is something holding me back on Humanity=Destruction from fully being won over by this bands sound. For one, the crunchier moments of their songwriting leaves much to be desired as predictable riffs take me to places I’ve been countless times before. On the bright side, some of these ideas are catchy enough that I don’t feel the immediate need to turn this off. When the band speeds up, the vocals emerge from a deeper moan, to venomous screams for the black metal influence to creep into their sound canvas. Too bad the music really doesn’t follow suit, rather adopting more of a note based, melodic (Swedish) death persona. Once again, some strong musical ideas really benefit this album, but not enough to make me interested enough to spin this much after the fires of my laptop have subsided and this review is lost in the never ending folds of the Internet. This Italian band is like another pale gray face in the crowd, but with a really good/polished studio production. – Marty
CRASH MUSIC
Cold Northern Vengeance – S/T Demo
•January 3, 2009 • Leave a CommentCold Northern Vengeance really has all their bases covered, proudly working into their logo design: 2 upside down crosses, 2 battle axes, 1 sun wheel and of course a Thor’s Hammer thrown in for good measure. With so many sigils of power leading the visual stampede, I feared that this would be a 4 track CDr demo full of clichés and likely unintelligible, amateurish poo. Thankfully, Cold Northern Vengeance turned out to be a very mighty thrust of pagan black metal that takes great care in creating a sound that is rather unique while sounding quite European. Starting this release out with an instrumental is a bold statement, one that shows how confident CNV is in their songwriting skills. Melodic riffs intertwine into layered dissonance, filling the warm sound spectrum with atmosphere and feelings of a triumphant victory in battle. The vibe created by this band is very majestic, even vision inducing, which is capitalized on 10 fold by their minimal use of keyboards and longer guitar phrases that really give the structures a lot of room to breath in all the staples of black metal and its sub-genres, to exhale suffocating drifts of snow covered woodland lust and pride in ones ancestral ties. The vocals found on “There are Halls to Spirit Depths of Buried Jelling” and “From Dungeons, to Northern Blackstorms” are mid-ranged and burnt out in their meaty lyrical upheaval and it strikes these ears as a delivery that isn’t typically found on the countless releases that pay due respect to Darkthrone. CNV leaves us with another impressive instrumental that is even more spacious in atmosphere and sonically wanders to ancient lands with dense guitar lines and a separate and minimal keyboard progression that really adds an enchanting dimension to this 2 man projects impressive and dynamic sound. Only 4 tracks and I must say this is easily the best and most meaningful demo found in this issue. I’m eager to hear what Cold Northern Vengeance can come up with for their next trip to the battlegrounds. – Marty
CNV, PO Box 48, Seabrook, NH 03874 USA
dungeoncult@aol.com
Cock and Ball Torture – Egoleech
•January 3, 2009 • Leave a Comment
This is one of those bands that I’ve heard a lot about, but never really was too excited to investigate any further after hearing the occasional, “dude… these guys are fukkin’ sick” description. Perhaps it was the name that was the real turnoff or the seemingly intelligent crop of folks rallying under this bands banner? From the offices of Morbid Records comes CABT’s latest, “Egoleech” and I have to say that it wasn’t what I was expecting. The name and legacy of this band indicates raging pornogoregrind that comes unglued at the drop of a chaotic blast beat. 2 tracks in and “Egoleech” is a thickly downtuned monster of boring mosh riffs/grooved out drum lines that has yet to break out of a loping, mid paced crawl. Track 3… sounds EXACTLY the same as the other 2 tracks. There aren’t any dynamics, speed or otherwise on this album. The only redeeming quality is the diverse and often electronically aided/pitchshifted/garbled vocals that exhale the septic breath of a long forgotten trailer park. Tracks 4 and 5… Is this the same song over and over again? I will say that the production gives the guitars a huge wall of sound, but every track thus far sounds like it has the same 2 chunky riffs. Is this Cock and Ball Torture’s attempt to sound more musically mature? Wow… this sleeper is going in the garbage. – Marty
MORBID RECORDS
Audio Kollaps – Music From An Extreme, Sick World
•January 3, 2009 • Leave a Comment
I love this record, probably more than I should, or would expect, but damn this is good. Mixing elements of Crust, classic Grindcore and old school German Thrash “Music From An Extreme, Sick World” quite simply rips. The tracks are well structured and have an infectious energy, that for me brings to mind the glory days of Sodom or Kreator at times. The guitar tone and vocal style doesn’t follow suit, but it’s that kind of catchy yet driving and heavy, not overly technical riffing that makes this record so damn enjoyable. Mixed in there are more straight forward Crust breaks and some Grind elements. The vocals delivery is gruff, with a nice rasp to it that gives it some character and there are a handful of screams as a second vocal layer. The production is strong and not over done, it just feels very pure. The release uses an “Apocalypse Now” theme visually, and there are samples, albeit in German that I suspect are from the film on the record used sparingly. The lyrics are printed both in German and English and deal with political and specifically war themes largely but not exclusively. Sadly I don’t quite know how else to expound on this, it’s just a great record. – Scott
CRIMES AGAINST HUMANITY
Choronzon – Psychosis Ex Machina
•January 3, 2009 • Leave a Comment
The 2nd full-length, and greatly overdue release from Choronzon is upon us and even though the overly DIY/under produced sound of this album tries to take away from all the acidic layers presented by this now 2 piece union of extreme musical styles, Choronzon seems to be on the same evolutionary path set forth by the ever impressive “Magog Agog”. “Psychosis Ex Machina” possesses an underlying digital wash that can be found on a low quality MP3… this sound is even more noticeable when experimental waves of noise creep in to infect the synth and guitar lines with a rotting vibe of disease and hopelessness. All sound imperfections aside, Choronzon has adopted more of a wandering industrial feel to this new material. There are many occasions where a synth line carries the harmony and holds the electronically dense sound manipulations at bay so that P. Emerson Williams’ bi-polar vocal style can corrode in and out of vocal effects and less caustic screams to give Choronzon a very off sided and interesting attack. This is part of the creativity of this band… you never know where the music is going to take you, or what level of sound manipulation/experimentation will pervert this into down right unpleasant moments of abrasion. I can honestly appreciate this level of exploration, but for it to come off more effective or even listenable, one really needs to concentrate on obtaining more of a dense, 3 dimensional production to give your music room to expand and grow. As it stands, “Psychosis Ex Machina” is so concentrated and forced into a small space, it makes all the similar sounds fighting for comprehension within these songs, step on each other as if to cancel each other out. This added with the fact that a fair share of the songs on here are a mess structurally, or just roam along in no particular direction, it makes “Psycosis…” a tough nut to crack. I do really like the open minded journey of ideas on “Psychosis…”, but I feel that “Magog Agog” possessed more of a musical/memorable sense that acted as the sugar to make the poison go down that much easier. “Psychosis…” has a very cold and alien feel to it and this aura seems to repel my attention span rather than draw me into the core of the mindfuck Mr. Williams has so expertly cultivated on this release. I do like what I hear, but this is one of those albums that may keep me perplexed and uncertain of how I feel about it for a long time, before there is that moment of clarity thrown on like a light switch where I finally and completely “get it”. Right now, I don’t get it, but I think this album will appeal to those of you lurking in the outer limits of musical experimentation and destruction. Leave your close minds at the door. – Marty
FOAMIN’ SODOMY RECORDS
Children of Bodom – Hate Crew Deathroll
•January 3, 2009 • Leave a Comment
Chidren of Bodom is one of those bands that has been laboring along with worldwide success acting as their magic carpet, but I’ve done very little to keep up with them due to overblown guitar wankery and their general upholding of the rules maintained by popular modern metal. The guitar work on this is definitely impressive and the crisp riff work, though very Gothenburg in style, does get my head nodding on occasion, but when the virtuoso guitar solos and equally annoying synth accompaniment come in, my interest is turned off like a light switch. Main man and axe slinger Alexi Laiho evidentally feels that his ego is too large to be contained to just playing guitar, so he’s on the mic as well, belting out a sterile scream that’s as dry as a popcorn fart. A more unique singer and less synth noodling would help this band get the job done so much more effectively. As it stands, there are some good riff ideas on display here, but Children of Bodom have yet to win me over in thinking that they are anything more than yet another interchangeable band in a scene full of imposters – Marty
CENTURY MEDIA
Chasm, The – The Spell of Retribution
•January 3, 2009 • Leave a Comment
I’ve been sitting on this one for ages for the simple fact that I’ve said just about every positive thing in my vocabulary regarding the greatness of Chicago’s The Chasm. To me, they are the perfect death metal band, effortlessly embracing the hard and twisted brutality of the genre, while mixing a brilliant true metal spirit that offsets the aggression with dueling guitar lines and a triumphant thrust in the music that’ll bang every head within earshot. In hindsight, all the amazing previous albums leading up to “The Spell of Retribution”, were building blocks it seems, preparing the masses for this new album where every song is a fatal strike of superior greatness. Hook bloated riffs lay down the foundation for Julio Vinterbo and Daniel Corchado to feed off of each other and lay down some amazing lead work. Every track flows like a mighty stream that is warm to the touch, which allows the listener to fall into each composition to become lost in the layered guitar lines and almost hypnotic drum work of Antonio Leon. Leon has truly become an amazingly colorful drummer, always offering the song such fluid fills for the transitions and his general sense of giving each riff a unique rhythmic foundation makes him a very creative weapon in The Chasm’s arsenal. With his free spirit rhythmic choices, he follows the guitar lines and somehow makes them even more musical which is hard for most drummers to achieve since so many try to show off with their performance. “The Spell of Retribution” is easily The Chasm’s darkest release, made even more diabolical by Corchado’s increasingly dank and punishing dungeon vocals. The man sounds as if his tortured soul is screaming out of him with utter dismay and yearning for the grave. He rarely follows the riff ideas which allows his vocal lines to stand independent and become yet another vibrant layer to this albums dense metal canvas. The Chasm sounds like no one else due to their brilliant and sinister South American musical influences. They continue to explore some truly atypical guitar lines that ebb and flow into deadly harmonies that don’t shy away from the occasional acoustic guitar accompaniment as found on the excellently mature track, “Retribution of the Lost Years”. So much passion and emotion seeps from every note of this music, it is hard not to become lost in this bands endless journey to uphold the finer characteristics of death metal. All hail the metal of death! All hail The Chasm! – Marty
WICKED WORLD
Chasm, The – Conjuration of the Spectral Empire
•January 3, 2009 • Leave a Comment
Without ever straying from their twisted and obscure death metal sound, The Chasm have evolved into an unstoppable force that somehow gets better and more impressive with every release. :Conjuration of the Spectral Empire” is by far The Chasm’s most developed release to date. The main riffs for each track take on a superior life all their own as the guitar prowess of Corchado and Viterbo proudly upholds dueling heavy metal solo work to elevate their dark and brutal foundation to new heights rarely explored by the death metal genre. So much passion and movement spews from interesting tempo variations and musical twists, one easily falls into this bands ritual as an active participant in the praise of death’s enchanting realm. Corchado’s vocals once again release the venom of contempt towards this life and the incessant tribulations we are forced to endure on our journey. The Chasm have become masters at layering atypical harmonies to reach a climatic plateau, only to strip them away when the atmosphere calls for more purifying metal flames to drag us back into a deep pit of depression. Antonio Leon’s percussive style continues to become more complex and interesting as this band battles on. His accents are truly musical, yet when speed is called for, his blasting attack comes off as unique and colorful, never jumbling the main guitar riffs as Daniel and Julio swarm into a torrent of thrashy tremolo ideas that uphold the incessant calling of metal’s ancient past. By manipulating various musical emotions ranging from despair to blind rage and all points in-between, “Conjuration…” is one of the most creative and memorable albums you will hear this year as The Chasm strike out again with 10 new tracks of impenetrable metal of death. – Marty
WITCHES BREW/LUX INFRAMUNDIS
Audiopain – The Traumatizer
•January 3, 2009 • Leave a Comment
The name of this project didn’t have me particularly excited about them, but this is pretty cool really. In many ways the spirit of the German Thrash scene comes alive on “The Traumatizer.” Audiopain manage to update the sound without sounding like a retro or tribute project. The riffing is speedy with just the right mix of technical flair, and the energy is of a nature I don’t come across much anymore. There is something about this that keeps bringing me back to Deathrow’s “Deception Ignored” it’s not as complex as that, but they carry a similar feel to them I think. Vocally, it is a bleach scarred snarl that works perfectly with the guitar tone and impetus of the writing. They do mix up the tempos adding a bit of melody and dissonance accordingly. There is some really nice discord on here in fact that harkens to the spirit of Dead Brain Cells and even a little Voivod. They just write really catchy songs that match the sprit of their predecessors well. There are 6 tracks on this, all but one of which is around or beyond the 5 and a half minute mark with the longest being about 8 minutes. The shortest track “Thrash Mental” at barely 3 minutes is an instrumental. The packaging on this also must be mentioned. The booklet takes a degree in engineering to figure out, it is a series of bizarre cuts and folds like I have never seen. I can’t imagine having to explain that to the printer. This is a great record in so many ways, the sound, the mix, the presence of the bass and the truly interesting writing. Impressive. – Scott
FIAS CO. PROD./VENDLUS/MISANTHROPICA ENTERPRISES
Chaos Breed – Unleashed Carnage
•January 3, 2009 • Leave a Comment
Chaos Breed are yet another super group, this time from Finland, featuring the vocal talents of Taneli Jarva, Esa Holopainen and Marko Tarvonen on guitar, Olli-Pekka Laine on bass and Nalle Osterman on drums. All the guys in this side project were already a part of the Scandinavian early 90’s death metal eruption, so trying to model Chaos Breed after the early Entombed aesthetic really should be second nature to this bands alumni. From cover to cover and track to track, “Unleashed Carnage” succeeds in emulating the ancient spirit of a genre that used to be fiercely exciting before the blast beat seemed to take precedence over memorable riff work in the creative mind of the modern DM musician. Down tuned guitars and a deeply guttural vocal bark takes the listener and the musicians alike back down the left handed path (pun intended) of nostalgia, so much so, that I felt like I’ve heard a vast majority of these 4 songs (plus an intro) before. Originality seekers will choke upon this bands redundancy. People like me that have had their fill of modern turbo death metal and the lack of “songs” produced by this genres mathematicians, will cast a fond sigh and allow our thoughts to go, “Ahhh… I remember the good old days..”. Obviously barking up the same tree previously (and successfully) scaled by Bloodbath on their mission to resurrect death metal’s days of splendor, one can appreciate Chaos Breed’s spirit and love for this sound, but Bloodbath’s songs were far more memorable. Standing on its own legs, “Unleashed Carnage” is a short, but entertaining listen that could have been far more punishing if the production gave the guitar sound more depth. Good for what it is, but definitely not a mandatory purchase. – Marty
CRASH MUSIC
Cerberus – Chapters of Blackness
•January 3, 2009 • Leave a Comment
Germany’s Cerberus embrace everything wrong with “trend” black metal in terms of fetish wear and a corpse painted appearance (along with what appears to be happy smiles on their paint slathered faces), but I’ll be damned if their music isn’t well done and full of interesting hooks and turns in the music. Even for “cult” based black metal, this quartet mix a chilly rawness with a strong sense of structure and riff ideas that breathe with interesting movement and excellent use of melody that shares some influence with harder edge punk. Having a human drummer really benefits this material, giving it even more of an atmosphere and much needed swing (something a machine can never correctly reproduce). Vocally, the harsh screams are what you’d expect for this style of music and of course fit the flow and aggression perfectly as Cerberus focus on interesting mid paced compositions that do dip into folk melodies on occasion as found on “Screams of Cerberus”. The more I’ve spun this album, the more connection and familiarity is revealed, making “Chapters of Blackness” a welcomed addition to my collection, even though the insert unveils some of the stupidest band photos I have quite possibly ever seen. There is a CD ROM video available on here for the track “Was War Vergeht”, but I’m seriously frightened to view what contrived gothic unholiness undoubtedly lurking within. I like this CD as is… to see the band members frolicking about, parading their most evil of poses, just may tip the scales in favor of the circular file. – Marty
SCHWARTZDORN PRODUCTION
Worm Gear 