Pestilence - Consuming Impulse [1989]

After delivering the awesome "Malleus Maleficarum" only a year earlier, Pestilence would unleash this monolith of death/thrash greatness on Christmas of 1989, and I could only imagine how awesome it would've been to unwrap a "Consuming Impulse" LP and see that near-iconic album cover staring back at me (what an unholy holiday that would've been). The thrashy record that preceded this one was a fantastic foundation for the Dutch quartet to build upon and they did just that, as nearly every aspect of the music on their sophomore is improved from the debut. The riffs, vocals, solos, songwriting, rhythm section and every other intangible part of the horrific music is better than it was on "Malleus Maleficarum," making "Consuming Impulse" a must-have for any fan of death metal, thrash metal or all around violent and gut-wrenching music made to crush bones and fracture skulls. 

I can't pick just a single highlight of this record, as it's impossible to choose between Van Drunen's brilliant vocals and the excellent riff-fest courtesy of Patrick Mameli and Patrick Uterwijk. Van Drunen provided one of his best performances on this album (second only to his amazing work on "Last One on Earth"), as he no longer sounded like the thrash frontman from the prior album, but a man who personifies death. Put together his brand of death growls which sound like someone who is dying from a slow shotgun wound to the chest with song titles like "The Trauma" and "Reduced to Ashes" and you've automatically got a winner. Throw in some of the catchiest riffs around and you've got an instant masterpiece. It also helps that the rhythm section is improved as well. I can actually pick out drum fills that caught my attention throughout the record and I never had a problem with the drumming during faster parts of the music or the fills during slower and heavier moments. Even the inclusion of synths at points doesn't bother me as the break in "Suspended Animation" is one of the most memorable moments of the album. The riffs are brutalizing, the vocals are horrendously perfect and the headbanging inevitably painful, yet entirely satisfying. 

When you kick off a record with a death/thrash classic like "Dehydrated" which features a terrific mix of thrashy and death metal influenced riffs, you've gotta wonder how the band would top that song later on, and then they do with another onslaught in "The Process of Suffocation." Every song features riffs of the "to-die-for" variety; riffs that are instantly ingrained in one's DNA and also induce plenty of whiplash, though no song has more chaotic and violent riffage than "Echoes of Death" which would put Demolition Hammer (the masters of violence) to shame. "Deify Thy Master" also balances out the heavy with the darker material with its sweet tremolo passages and melodies that foreshadowed what was to come later on in the band's constantly evolving discography. "Consuming Impulse" isn't only a vast improvement from the already stellar debut album, but a masterful work that has stood the test of time as one of the best death/thrash full-lengths ever. I can't recommend this album enough, so I'll let the music do the talking for me and if you haven't had the pleasure of listening to Pestilence's finest work, prepare to be reduced to ashes. 

Highlights
"Dehydrated"
"The Process of Suffocation"
"Suspended Animation"
"Echoes of Death"

Final Rating
Masterpiece [9.5/10]

Pestilence - Malleus Maleficarum [1988]

It probably isn't even necessary to get into any kind of detailed intro for this band. Pestilence is the reason for a couple of massive things in the metal world. Firstly, this is where the death metal god Martin Van Drunen got his start before venturing off onto other amazing projects (including Asphyx, Hail of Bullets and even Bolt Thrower for a bit). The other notable deed from the Dutch masters is the release of this awesome record "Malleus Maleficarum" and the masterpiece that is "Consuming Impulse." This album is the first of what would be a varied discography for Pestilence, as none of their full-lengths sound the same. The debut is definitely the most raw release (and it could even be considered primitive if compared to the later albums) and shows this four-piece band excelling in a genre that was still at a creative peak with other top-notch thrash releases like Morbid Saint's vicious "Spectrum of Death," Coroner's dark, technical thrashterpiece "Punishment For Decadence" and Forbidden's awesome debut "Forbidden Evil." 

I mentioned that this is the band that saw the introduction of my all-time favorite death metal vocalist Martin Van Drunen. However, his vocals on "Malleus Maleficarum" are unlike his tortured growls of his latter work, as they're more suited for a violent thrash group because they're much less throaty or deep, sounding like a mix of Chuck Schuldiner and Jeff Becerra. The riffage, too, is much more thrash-oriented than the band's later albums, but it doesn't affect the quality whatsoever. The wicked riffs that are seemingly littered throughout this album could hang with just about any of the others heard on plenty 1988 releases. The rhythm section didn't really do anything overly impressive, but they did their job well and that's plenty enough to make the music here heavy and headbang-friendly. The lead guitar work is another highlight on this album as the two guitarists showed that they're not just playing brutal riffs and trying to be heavier than the every other band, but that they're capable of writing memorable songs filled with awesome melodies and solos. 

The album-opener "Malleus Maleficarum/Antropormophia" starts the record off on a darker note with a kickass buildup featuring tremolo riffage which eventually leads to some thrashy riffs from hell. "Chemo Therapy" is an absolute curbstomper of a track with its whiplash-inducing riffs and an incredibly catchy chorus. "Parricide" and "Cycle of Existence" are just further proof that Pestilence are indeed masters at riff-crafting, with terrific midpaced sections and vile tremolo bursts. There aren't any complaints that could be made about "Malleus Maleficarum," and while it may not be as good as the record that came after it is still a quality listen and an album that is very worthy of your time. Let's just add this album to the list (and it's a pretty decent size list) of brilliant releases from the Dutch, sit back and bang our heads silly to some of the finest death/thrash to be bestowed upon the metal masses. 

Highlights
"Parracide"
"Chemo Therapy"
"Cycle of Existence"

Final Rating
Awesome [8.7/10] 

Asphyx – Embrace the Death [Recorded: 1990. Released: 1996]

“Embrace the Death” is Asphyx’s true debut album. Although it didn’t see the light of day until 1996 (Thus making it their 4^th released album), the songs were actually written in 1988/89 and the album was recorded in 1990. Due to a dodgy label boss pulling a runner with all the recording money, this brilliant album was lost to the void for a few years. Unfortunate, as this is one of their best releases.

One peculiar thing you may notice upon hearing this record is that some of the songs have been released on other Asphyx albums in rearranged and rerecorded forms; some times appearing under a different title. Most of these mentioned tracks are presented in a more primitive and raw form here.

The main thing that I like about “Embrace the Death” is that it showcases Asphyx at their most evil, unpolished and obscure sounding. The rough and unprofessional production job makes it sound more like a demo than a full length, which only adds to the dark and heavy feeling.

Most of the songs tend to stick to a slow-to-mid pace, really focusing on the doomier aspects of the Asphyx signature sound. Sadly, this and “God Cries” are the only two Asphyx albums that featured the vocal and bass talents of Theo Loomans (R.I.P.), a man who brought a very rough and brutal edge to the band. His vocal style didn’t differ too much from Van Drunan, but his input helped to embrace the more barbaric side of Apshyx, which sets “Embrace the Death” apart from the rest of their catalog.

“Embrace the Death” is a forgotten classic and an essential part of any Asphyx collection. Or any old-school death metal collection, really.

Highlights: 

Embrace the Death

The Sickened Dwell

Crush the Cenotaph

Final Rating: Awesome [8/10]

Funebre - Cranial Torment [2012] (Compilation)

Man, I really love these compilations. Reissuing underrated albums for more exposure one thing, amassing extremely overlooked demos and EPs into single packages for gruesome, carnal delivery another. Xtreem Music has now gathered all the pre-1991 material of the Finnish cults Funebre in one case, and now, listeners can enjoy the ''Cranial Torment'', ''Demo II'' demos and the ''Brainspoon'' EP the same way they enjoyed the bands vile splash of vile that was ''Children Of The Scorn'', and what's more is that you can feel the rawness and sheer decomposed splendor of these ghastly tunes the way they were taken out of the oven, fresh but rotten, oldie but goodie.

As I said, the authentic production quality helps reinforce the notably primal disorder the album espouses, and you've got vitriolic churning of traditional decayed Finnish death metal in its most macabre and aggravated form, sticking to the path that Convulse or Purtenance took, with a heavy blend of charnel Swedish chainsaw insanity, the same way Nihilist did it in the late 80's. The amalgamation is, of course, nothing new if you've already witnessed the band's excellent full-length, but I've always considered contemplating certain band's primordial exhalations in order to compare it to their somewhat more polished released. In death metal, old school death metal, I have a strict little rule; the more crude and primitive the band gets, the closer it gets to perfection through dissonance and putrefaction. Funebre are easily one of the dominating Finnish death metal acts roaming around 1993-1988, and this temple of embryonic pain is the evidence, clearly.

Thanks to Funebre's slightly original tendencies, we can feel skull-crushing buzz-saw pressure at the same time as somnolent death/doom drudgery. Tracks vary, because the mix does not equalize them all into one single production quality, so songs from differing releases stand out with marginal qualities, and out of them all, my favorite would probably the ''Demo II'' material, which, obviously manifests the darkest and roughest peak of the band's adoration for esoteric and ephemeral horror, sending a barrage of chills down your spine as the ripping chainsaw fluctuates into a grisly slither of flesh and bones. Funebre are one of the best bands to come of the Finnish death metal scene, as already evidenced on their debut, but for furthermore proof of their crude agility, get this compilation and feed yourself all its disemboweled contents. 

Highlights

''Expunging Mortalities''

''Grip Of Insanity''

''Leprophiliac''

Final Rating

Awesome [8.4/10]

Incantation – Onward to Golgotha [1992]

Incantation has been one of the most consistent long-running death metal bands, releasing killer material on almost every release they’ve put out since forming way back in 1989. Their debut full length “Onward to Golgotha” is one of my personal favourite death metal albums and a total classic of the genre.

Combining a crushing guitar tone and some truly sinister riffs, some of the most guttural vocals ever achieved, interesting drumming and an atmosphere blacker than the Guinness I’m drinking as I write this review, Incantation created a truly evil and cavernous sound that many have since tried to top. Only few bands have come close to achieving such a feat.

The writing on this album is absolutely top-notch. While the songs do follow a similar formula, each one still manages to have its own flavour and fair share of decent riffs. There are moments that will cause your head to bang uncontrollably and moments that will suffocate you in total darkness. Incantation’s formula has always been to suck you in with infectious riffs and then hammer your skull in with that bone crushing bottom end.

Songs like “Devoured Death”, “Unholy Massacre”, “Christening the Afterbirth” and “Profanation” will stick in your head and destroy you from the inside out. It’s a shame that this particular line-up never recorded another Incantation album, as what they achieved here was truly something special. Old-school death metal perfection, if you ask me.

Highlights: 

Devoured Death

Unholy Massacre

Christening the Afterbirth

Profanation

Final Rating: 10/10 Legendary

Manilla Road - Out of the Abyss [1988]

If someone were to listen to Manilla Road's pre-2000 output, they would more than likely notice that there was a constant changing in the band's sound, yet Shelton always retained a signature style that immediately let the listener know that they were in for a Manilla Road album. This listener might also notice that the changes in sounds came in pairs. The first two records clung to a proto-metal sound, while "Crystal Logic" and "Open the Gates" would go on to become masterpieces of the heavy metal genre, and the latter two albums "The Deluge" and "Mystification" would inject a healthy amount of thrash into the epic sound. Enter the band's seventh studio album and once again, there is an obvious shift in sound. "Out of the Abyss" is easily the darkest output for the band to date, conjuring up wicked sounds similar to groups like Iron Cross, Satan's Host, Metal Church, etc. 

There are a couple of reasons why "Out of the Abyss" has a much darker edge to the sound, but the main reason is once again, the absolute genius of Mark Shelton. Whether he's using sinister sounding and mysterious clean guitar sections ("Return of the Old Ones") or a much more insane vocal style with gruesome lyrics ("Whitechapel"), the music is undoubtedly more evil than it's been before. It would be a stretch to say that the Shark's vocals improved, but they definitely take on different forms throughout these nine tracks. The man sounds fucking deranged on the opener "Whitechapel" as his vocals perfectly convey the insanity of the man who the song is about (Jack the Ripper). "Rites of Blood" is another track that follows the precedent set by the album-opener, as the palm-muted riffs, catchy basslines and vocals all contribute to a more diabolical sound. Songs like "Black Cauldron" and "Midnight Meat Train" have a similar thrashing vibe to them that songs on the previous records have, and it wouldn't be much of a shock to see fans of tunes like "Masque of Red Death" and "Divine Victim" thoroughly enjoy these tracks. 

Of course, Manilla Road is a heavy metal band, and what kind of album would "Out of the Abyss" be without some epic songs that hearken back to the days of "Dreams of Eschaton" and "The Ninth Wave?" "War in Heaven" features the familiar clean guitar passages that serve as the perfect backdrop for Shelton's vocals that sing of battles between deities, before the song eventually turns into a distortion-laden one filled with incredible solos and faster riffs. The album closer "Helicon" is a stellar track to say the least, and one of my all-time favorite Manilla Road songs. Mark has one of his best vocal performances on this song, and every other part of the music followed suit to deliver a heavy metal classic. While I don't enjoy "Out of the Abyss" as much as the few albums before it, this record is still an enjoyable listen with some decent to amazing songs, that would only add to the band's legacy as one of America's premier metal bands. 

Highlights

"Whitechapel"

"War in Heaven"

"Helicon"

Final Rating

Awesome [8.5/10]

Conqueror - War. Cult. Supremacy. [1999]

Your old mate Vagabond has been a bit busy with actual real life recently, so I haven't had much time to contribute to Nightmare Reality. With that being said, I've decided to transfer over some of the reviews I wrote last year for my "Arisen From The Crypt" monthly special which I stopped doing once I started doing old-school reviews on here....

Conqueror formed way back in 1992 and featured J. Read (Blood Revolt, Revenge, Black Witchery, Axis of Advance, Cremation, Kerasphorus, Arkhon Infaustus) on drums and vocals and R. Förster (Blasphemy, Domini Inferi, Revenge, Godless North) on the axe.

They played the most unrelenting war metal ever recorded. Constant blast beats, insane vocals that make your average black metal vocalist sound like Madonna and extremely fast distorted riffs all over the place are what to expect here, although it’s best to go into a release like this with no expectations, because whatever you’re expecting will be wrong.

In all honesty, this is the most savage album I have ever laid ears on. Most people who listen to “War. Cult. Supremacy.” will hear nothing but mush and noise, but the ones who actually “get it” will hear complete, utter primitivism and barbarity. This release is an audio war against humanity. No one is safe.

I have no other words for this. Get your hands on this any way you can and prepare to have your perspective on “music” changed forever.

Highlights: 
The whole thing.

Final Rating: Legendary [10/10]