Savage Death - Crucified After The Genocide [2010] (Compilation)

Perhaps one of the most staggering and resonating sojourns into the mid 80's reservoir of extremity can be attained best through the unearthing of classic demos that no doubt had their impact on the local scene, but where later on deterred and trampled into submission with the rising of stronger, to be mainstream acts, but I still feel such obscurities stuck in amid the very ooze of time bear the essence of the true energy of their period. Really, any underrated demo could have served the purpose here, but in this case I've chosen one of my underground favorites, Savage Death. While band's body work is short; only two demos ranging at about 35 minutes, F.O.A.D Records has blissfully uprooted the band from their subterranean prison and has brought the two works of savagery to disposal, all the better for collectors of unveiled antiquities.

And delving into the demos, you'll find that Savage Death's material is hardly a novelty for anyone who has the slightest idea what crudities were being churned up in the US scene back then, but even so compared to many of its contemporaries' axe-work circa 1985-1986, this carries a reasonable level of aggression, extremity, along with all the fundamentals that comprised the anatomy of an average speed/thrash neanderthal. In fact, had the group started their endeavors a year or two earlier, they might have surpassed their fellow countrymen Possessed, all thanks to a roiling, gyrating tone to serve as an arboretum to Hellhammer, Celtic Frost and even some of the earliest crossover thrash examples that laid in the very heart of the US. That being said, Savage Death's compositions are hardly sentient interpretations of precision. The tone is highly muscular in contrast to speed metal bands who took their respective influences from primal power metal and NWOBHM footings, but at the same time it's twangy, high-pitched and takes up the majority of space in the mix, the other quadrants unequally given to the dissipating, feral inflection of the vocals and the raw clangor of the drums.

Despite all the one-dimensional perspective of acquiring belligerence through meat, bones, grime and evil that are highly prevalent in both demos, the 1985 ''Mass Genocide'' and the 1986 ''Crucified In Hell'' have their vague differences that help butter up and radiate the emergence of diversity on the entire compilation of songs. One of the core reasons for this implicit difference may be the change in drummers; as Eric Young picks up the drum sticks in the stead of Dave Marks to do some snare-battering action on ''Crucified In Hell'', a distinction in percussion ambiguously forms, and additionally, the ever schizoid Joe Barrows also makes some slight changes in his rancorous toning. ''Crucified In Hell'' features a stockpile of tremolo wails too, unlike its predecessor, and on the same demo, the band begins a tighter focus on traditional crossover aesthetics, as seen on ''I Impaled Your Mother'' and ''Kill The Posers'', while ''Mass Genocide'' was almost purely devoted the meaty, grinding edge of its hostile brute blade, swinging voluptuously.

It seems like these vandals could have burst and released an expunging debut just a year after their second demo, but sadly, their brief discography never saw the light of a full-length that would have even trebled their potential for creating unbridled blitzkrieg. Yet, I suppose we should be thankful the band released two demos of sheer mid 80's speed/thrash excellence. Even for a critic who takes all his/her music quite seriously, this is a traumatic, raw onset of nostalgia, in which case translates simply into interaction, interaction and interaction. Certainly a sumptuous feast for anyone who gets pleasure out of early Slayer, Metallica, Exodus, DRI, Possessed, and primordial South American textbook examples of death/thrash like Sepultura, Vulcano, Attomica and Dorsal Atlantica circa 1986-1987.

Highlights
''Mass Genocide''
''The Advisory''
''Evil Dead''
''Savage Death''

Final Rating
Mediocre [7/10]

Baphomet - The Dead Shall Inherit [1992]

Every time there's a new morbid bludgeon going on in the current death metal underground, the origin of the that cadaverous formula is tightly bind to your typical Floridian suspects of brutality; Massacre, Morbid Angel to a certain extent, Deicide, and perhaps even some South American intensity thrown in. Though, I regret to admit that the current trends have taken reiteration to a point where it's almost a necessity, and while doing so, many overlooked gems are ignored or neglected. Borne of the crude and ghoulish cemetery grime and made of rotten flesh and bile, Baphomet is what you'd probably call ''a grotesquery of the genre'', which, at least circa 1989-1993, was considered  to be very true. Huddled in gore, filth and malignancy, Baphomet's ''The Dead Shall Inherit'' is a crudely underrated treasure to be found in the deepest, putrid trenches of the burial ground.

''The Dead Shall Inherit'' was probably overly brutal for even acknowledged mavens of old school Floridian brutality that I've mentioned, who brought the genre to a point of lush and wealthy, mainstream finesse. There's always some good in reconsidering the roots of one's masterful aesthetics that have been divided by dichotomy over years of development and sophistication. Baphomet still today sounds utterly regurgitating and macabre, weighing immense, muscular riffage upon heaps of carnality, forming an oblique hybrid of death and thrash fashioned in such a way that you'd get the feeling the composers were gushing out frantically in violent surge of adrenalin while shattering bones and flaying a marauded cadaver. It's possible that the band was trying to take the gurgling, decomposed ebullition of the roaming kings of gore and brutality at the time, so there are obvious differences; instead of keeping the listener distorted with clinical technical death metal showers, ''The Dead Shall Inherit'' weighs on pressure, excluding the busying, and fluttering their gory momentum with masterfully crafted implements of sordid, ruthless simplicity and sending the listener's pulverized skeletal complex into mire of blood. This is music that neanderthals would've simply adored.

Of course, all these primal incursions come with a cost. Any sort of mood, embellishment and technical diversity is left to rot, omitted. Therefore, in the sense that the band's only implements are pummeling grooves and upright beats, you could say they were pretty ''non-bullshit'', but then again they would probably tell you the same thing. In addition to the hammering rhythmic department, Baphomet had sodden bass lines that really quivered and enlightened the discharge of the guitars as to decompose them even further. Like on ''Valley Of The Dead'', on the legendary intro riff, the bassist literally exposes all the stomach-churning contents of his body while this four strings bob to attain undeniable headbanging pleasure. Tom Frost's vocal timbre is also a shaking feature and oblique like the guitar work; I can't quite relate it directly to any well-known guttural vocalist. Consistent and punishing like a shower of meaty bricks falling upon unprotected heads, ''The Dead Shall Inherit'' will leave the typical OSDM freak sweltering, and should be the weapon of choice for anyone looking for his/her USDM fix. Feel free to abolish you neck, but make sure your next appointment with the doctor doesn't involve any ugly, violent music being blasted out. The consequences will be vital.

Highlights:
''Valley Of The Dead''
''Streaks Of Blood''
''Vile Reminiscence''

Final Rating:
Awesome [8.2/10]

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

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]

Burial – Relinquished Souls [1993]

Burial is an obscure Dutch death metal band that formed in ’91 and proceeded to release one demo and one album then, due to issues with their drummer, disbanded in 1993. Apparently the band was resurrected a few years ago.

Burial were very obviously influenced by the early works of two specific American death metal bands: Massacre and Death. There is no denying that this whole album reeks of fanatic worship of these two legendary Floridian acts. So, given that most of you will be familiar with these two bands, you should already have a good idea what to expect; technical yet powerful and catchy headbanging riffs, precise drumming, fast, thrashing tempos, complex song structures and aggressive vocals that could give Kam Lee a run for his money.

After hearing the killer opening track “The Second Coming”, the listener instantly knows what they’re in for and it’s one hell of a bloody ride! Along with the previously mentioned Massacre and Death influence, you’ll also find fleshripping thrashing moments that bring to mind old-school “brutal” thrash bands such as Demolition Hammer and Morbid Saint, which should definitely keep the average old-schooler entertained!

The real highlight of “Relinquished Souls” lies in the guitar playing. The riffs are complex but still catchy and nearly every song has multiple solos. The bass, drums and vocals are all great but the two guitarists really on a whole other level. It really is a shame that this band only released one demo and album before fading into obscurity, as I would love to know how they would have progressed over time.

Highlights:

"Traumatized"

"Abhorence Within"

"Frigid Cold"

Final Rating: Awesome [8.5/10]

If you’re a fan of old-school early 90’s death metal, I would highly recommend picking up the reissue of this album through Memento Mori Records.

Morpheus Descends - Chronicles Of The Shadowed Ones [1994] (EP)

The old New York death metal scene was a glorious place during its heyday. There has been a manifestation of indulgent, cadaverous acts, the most prominent ones being Suffocation, Cannibal Corpse and Suffocation, which obviously influences the majority of the metal bands that resided there.  Morpheus Descends is one of the more underground bands to emerge from the filth-laden streets of New York, and their debut album ‘’Ritual Of Infinity’’ is an ever praised underground classic that churns together a bulk of brutal aesthetics and sinister rituals in one place, forming a delicious OSDM feast. The band lived on for some time, relatively longer than other acts which could not withstand the furious winds of change, but in the end they too joined the ashes and dust, only to reappear on the internet. The repute held by about band is simple; an opinion held by the almost the entire underground stating that their debut is their most golden moment. I, for one must agree that it’s a golden release, but not the uttermost golden.

Two years after the exhalation of ‘’Ritual Of Infinity’’, Morpheus Descends bestirs yet another force to unleash, one that has been shamefully overlooked. ‘’Chronicles Of The Shadowed Ones’’ is an EP, released without the aid of any label, yet in spite of being a low budget release, it stands as a better record than the lauded debut. On ‘’Chronicles…’’, Morpheus Descends undeniably leans towards a more cathartic edge, producing a bombastic death/doom mutation of shadowy brute force and despondent, subterranean intellect.  Espousing themselves deeply in a horror concept, the band’s esoteric knowledge excludes the overt brutality present on the first record and transforms it onto a mournful array of melancholic death/doom obelisks, taking on a sinister, dabbling hue to environ the listener in dark, ethereal wroth.

The cravings that Morpheus Descends gouges are still somewhat similar to the aesthetics of the debut album, but the scrofulous chthonic emission on ‘’Chronicles…’’ reeks of misanthropy everywhere it goes. The dynamic, muscular rhythm sequences have all of a sudden been turned into crushing monstrous death/doom exercises, the tremolo-laced patterns are now sweltering with dread and constant horror, and in addition, the vocals are murkier and cavernous, suiting the drudgy trudging of the riffs more. I must confide, however, that even with the additional gnawing aspects of the raw production the EP does is not as evil as some other acts with were dominant over the dark arts such as Infester, but with so much primacy running through veins of punishment, it’s only natural that the band invigorates the static, brawny elements in order to attain a dose of brutality that was highly present on the debut.

With some much ponderous grooving going on, the songs rang at a minimum of five minutes, fuelling numbing pain as the sludgy excursions ooze from their decrepit caves and emerge. The EP is rather lengthy to be an EP, ranging at thirty-two minutes, but I suppose it was never written in the cards for ‘’Chronicles…’’ to reach a higher peak. ‘’Chronicles…’’ also has a very dynamic display of drum fills, my absolute favourite performance on the whole album. Instead of plodding on at an elephant’s face alongside the riffs, the drummer often leaps for dexterous fills and jumps from one queer beat to another, and during faster sections you’ll feel it blasting vigorously. ‘’Chronicles Of The Shadowed Ones’’ is a death/doom masterpiece, a stench laden incursion of muscular spasms and monotonous blasts, its horrid ritual ending with the agonized, lycanthropic howls of the bleak nine minute ‘’Moupho Alde Ferenc Yaborov (In the Land of the Vampire Ferenczy)’’, an ghastly, inhuman hymn.  The debut is a classic death metal monstrosity, but this EP belongs up there with the masters of harrowing monotony, amongst Winter, Incantation and dISEMBOWELMENT.

Highlights:

''The Cruciform Hills''

''Cairn Of Dimitru''

''Sings Of Gehenna''

Final Rating:

[9.0/10] Masterpiece

Absu - Barathrum: V.I.T.R.I.O.L. [1993]

Absu, a band who are now well-known for releasing consistent onslaughts of storming black thrash with a mythological and occult feel to them, were once an old-school death metal band, as evidenced on their early demo material. On their debut full length, “Barathrum: V.I.T.R.I.O.L.”, Proscriptor and co. bridged the gap between these two distinct and totally different styles…

It all begins with the very occult-sounding intro “An Involution of Thorns” setting the mood and then the first actual song “Descent to Acheron (Evolving into the Progression of Woe)” kicks things instantly into high gear with a death metally thrashing onslaught which eventually evolves into slower sections and a bit of occult weirdness thrown in for good measure then picks up again later in the song.

The whole album is actually rather varied, making this one of Absu’s most interesting releases. The influences range from Floridian death metal, old-school thrash (Texan legends Morbid Scream, in particular), early Darkthrone (Proscriptors drumming reeks of “Soulside Journey” era Fenriz worship) and a bit of early Incantation in the slower sections.

With “Barathrum”, Absu managed to put out a very unique album that has done something not many bands can pull off, which is to create a very dark and occult atmosphere whilst still retaining a certain degree of thrash metal in their sound. They slow things down a bit, use occasional ambient keyboards and showcase a meaty-as-fuck buzzsaw guitar sound but still hold on to the old-school metal spirit while drenching the music in occult darkness.

Running at only 30 minutes and 50 seconds, this is Absu’s shortest album. It is also my personal favourite among their killer catalogue.

Highlights:

Descent to Acheron (Evolving into the Progression of Woe)

An Equinox of Fathomless Disheartenment

The Thrice is Greatest to Ninnigal

Fantasizing to the Third of the Pagan Vision (Quoth the Sky, Nevermore Act II)

Final Rating: 9.0/10 Masterpiece

Benediction - Subconscious Terror [1990]

This is an album that has been quite hard to fully enjoy for myself. The first time I listened to it, I thought it was entirely mediocre and I’m amazed that I gave the sophomore a chance. Still, a few listens later and it didn’t really grow on me, but I did start notice subtle little parts of the music that made the whole better. “Subconscious Terror” is not my new favorite death metal album, nor is it anywhere close, but I do appreciate it more. Benediction’s approach to death metal on this record isn’t entirely groundbreaking as they resemble a good deal of the Swedish bands, though without the chainsaw tone, but they do have bits and pieces of other notable acts like Autopsy and Bolt Thrower present in their music. 

Benediction’s formula for writing songs on this record didn’t provide much variation as a majority of the riffage throughout “Subconscious Terror” consists of plodding to midpaced chord progressions, mixed with your typical tremolo passages. The title track, “Divine Ultimatum” and “Spit Forth the Dead” all follow the same precedent well enough to get the listener’s head banging, but there isn’t much accomplished as far as creating some memorable music. “Eternal Eclipse” is one of the better tracks of the bunch, simply because it reeks of Autopsy influence. The riffs and atmosphere may not be as brooding, but they definitely sound similar in structure, and the incredible drumming performance reminds one of the phenomenal Chris Reifert. 

Barney’s vocals aren’t entirely impressive on this album (he definitely would shine with his later band, though), they were just there, really. His low growls fronted the riff-driven music well enough, but he didn’t take the overall sound over the top like other vocalists of the times. The rhythm section on this album was very significant in the sound. The bass added some heaviness to the music and had a couple fills here and there, while Ian Treacy’s drumming performance was stellar to say the least. He had plenty of terrific moments (intro to “Eternal Eclipse” especially), but it was just a solid performance displayed throughout that made his drumming that good. The fills, d-beats, double-bass sections and everything else was spot on. Benediction definitely would go on to create some vastly improved death metal, but “Subconscious Terror” isn’t a terrible way to start off your career, as it has its moments. It just may take a while for it to click…

Highlights

“Artefacted Irreligion”

“Eternal Eclipse”

“Experimental Stage”

Final Rating

Mediocre [7.8/10]

Angelcorpse - The Inexorable [1999]

Angelcorpse’s sophomore ‘’Exterminate’’ was by far their most efficient release, even though its predecessor ‘’Hammer Of Gods’’ held an even more savage aura, and Angelcorpse’s final offering of the 90’s proves to be logical continuation of the previous record, yet for some reason, it’s their third release, ‘’The Inexorable’’ which appealed to me most. While the third siege may seem like an almost exact copy of the previous release, there are some nuances that make up all the deviation it needs to progress and thrive even further, despite the fact that the differences in between the two records are genuinely very little. ‘’The Inexorable’’ arranges the fulsome spectrum of riffs that previous albums possessed and puts them in order, thus giving birth to even more mature structures and riffs, more consistent patterns and more balanced elusive manoeuvres. With ‘’The Inexorable’’ the music reaches its utter peek in ripeness and the aftermath of the storm is (as always) nothing but sheer destruction.

Angelcorpse’s compositions have improved, and they have positioned their black and death metal textures even more carnally this time. The death metal half of ‘’The Inexorable’’ is just as it was on the previous record, robust, tantalizing, brutal and copious, boasting savagery and culminating annihilation, but the black metal side of the coin has differed, embracing the dispersing elements even more than before and giving more room to utter complexity and brain tangling riffs – proving to be quite varying over only single songs. The choppier yet cleaner tone also deserves laud, sustaining the bridge between crushing and energetic at all times. With nearly all of its implements properly placed, ‘’The Inexorable’’ becomes an even more efficient piece of artillery, and its hooks are bound dig even further into your flesh, because the band has also gotten rid of most of the hindrances that had the potential to mar the riffs and affect their diversity, so the album ultimately packs a more boggling punch than its predecessors.

Its maturity is the only aspect that separates it from its peers, and frankly it’s the only aspect that puts off metalheads that are more into the savage and blunt edge of Angelcorpse, rather than its riper side. ‘’The Inexorable’’ does have a small negative side, though. AS it focuses too much on the fertility and fullness of the massive, crushing guitar tone, it leaves the drums and bass almost in audible. In exchange, the album does attain a more enveloping sound and aura, but also becomes nearly devoid of one of Angelcorpse’s crucial intensity attributes; the drumming. While straightforward death metal overtones may render the drums clean, the blackened bestiality is far too cavernous for the drums to sustain complete audibility, therefore, they are sometimes rendered clean and sometimes inaudible. But even though the drums are sometimes marred, it does not prevent the riffs in general from possessing efficiency. ‘’The Inexorable’’ is probably not the favourite Aneglcorpse album of many, but to me it is, with its sharp hooks and everything. ‘’Exterminate’’ is very closely behind it, but my decision is likely to change frequently. 

Highlights

''The Fall Of The Idols Of Flesh''

''Stormgods Unbound''

''Smoldering In Exile''

Final Rating

Masterpiece [9/10]

Abhorer - Upheaval of Blasphemy [1993] (EP)

A few years after releasing their demo “Rumpus of the Undead,” Abhorer would put out another release, the two-song EP “Upheaval of Blasphemy.” This new collection of material definitely showed the band’s improvement, as the two songs here are more memorable than the previous unholy tunes and they shaped the sound that the band would perfect on their full-length a few years later.  

Unlike “Rumpus of the Undead,” the production on this release is a lot better. Every riff, growl and percussion assault can be heard and distinguished perfectly on these two tracks, as the music is mixed terrifically. Abhorer also provided more variety on this EP (ironic given that there’s less material) as the riffs aren’t just non-stop tremolos. “Abandonment of Chastity” is a solid mix of the tremolo bursts and kickass midpaced riffs that are sure to thrash the listener’s neck. “Heathendom Incarnate” is a fantastic track that alternates between the two different styles of riffs, while weaving in some heavy vocals and violent drumming, creating a highly memorable song and one of the best tracks in the band’s arsenal. Overall, if you’re a fan of the previous demo, then welcoming “Upheaval of Blasphemy” into your collection should be no problem, because this is black thrashing death that is simply awesome. 

Highlights

“Abandonment of Chastity”

“Heathendom Incarnate”

Final Rating

Awesome [8.5/10]

Abhorer - Rumpus of the Undead [1989] (Demo)

Before all of the bombastic song titles and before the full-length, Abhorer got started way back in 1989 with their debut demo “Rumpus of the Undead.” The most extreme music around then were bands like Autopsy, Bathory, Bolt Thrower, Morbid Angel and Celtic Frost among others, but the four songs (not counting the intro) here are quite savage themselves, much moreso than the aforementioned bands who were the giants of the time. A lot of people may have not been prepared for the raw and sloppy music that coursed through this demo, because this music is absolutely filthy. The riffs, production, vocals and everything else just reeks of old-school. 

The first thing that anyone will immediately notice after the intro track clears is the muddled production. The quality of the production on this demo is shitty to say the least, but it adds to the overall feel of the songs quite nicely. The Celtic Frost/Slaughter guitar tone is murky and it makes the opening power chords of “Repudiated Faith” sound really dark. Throw in some whammy bar madness and incomprehensible growls, and you have the vile sound that Abhorer created. The majority of the riffs on “Rumpus of the Undead” are tremolo bursts and some occasional power chords, but there isn’t much variation in the riffs. Still, tracks like the title track and “Profane Immolation” crush as they engulf the listener in a shroud of evil, while they're simultaneously being pummeled by the rapid-fire percussion and insane growls. This Singaporean quartet definitely made an impact of sorts with this demo, but they would also go on to create much better music and leave an ugly and profound mark on the metal underground in Asia, and the world for that matter. 

Highlights

“Repudiated Faith”

“Rumpus of the Undead”

“Profane Immolation”

Final Rating

Awesome [8.2/10]

Angelcorpse - Hammer Of Gods [1996]

While their later releases ‘’Exterminate’’ and ‘’The Inexorable’’ will prove to be more cunning and technically surpassing albums, Angelcorpse’s debut album ‘’Hammer Of Gods’’ is not without flaws. The third and second effort are closely related, both possessing a more lively edge and a processed portion of Angelcorpse’s savage attitude, but although ‘’Hammer of Gods’’ is just frenetic and just crazed with erupting blackened death metal fury, it’s clear that it hasn’t fully been turned into a credible substance, thus offering no more than pure demented aggression. Even so, the debut remains as the most frantically driven and it beholds a strength that could reduce any man into cinder within the blink of an eye, therefore ‘’Hammer Of Gods’’ stands as Angelcorpse’s most barbaric incursion, although so of its blows may tend to miss its target.

The overwhelming savagery has an obvious reason here. The musicianship hasn’t properly developed, and therefore we’re left with heaps of uncontrollable energy and callow riffs, enjoyable nonetheless. ‘’Hammer Of Gods’’ big flaw is the lack of prowess, but it’s also devoid of the spiking, sturdy guitar tone of ‘’Exterminate’’ (which augmented even further on ‘’The Inexorable’’), leading us to fibrous riffs, dispersing and scattering vigorously. Of course, the coarse jumble of tremolos and chords are totally gut-splattering. ‘’Hammer Of Gods’’ will punch you with its iron hammer again and again, and it will send a swirling vortex of chaos upon the remainders of your pulverized body to distort even further. Every song is just another strike of the hammer, numbing continuously, and your flesh will be all but gobs of meat when the album ends.

If you want a tantalizing demonstration of Angelcorpse’s early sound, look no further than this record. It’s accessible compared to the band’s demo material but still raw, demented and drunk with power. The drumming is simple, crude blast beats, while the vocals are throatier than ever, and the production is also a futile one, raw and decrepit. I can’t say that this is my favourite old school Angelcorpse record, but I can’t say I dislike it either, because after all, there’s still stuff here that would make your head jut up and down until snaps, and no matter how crude it is compared to its peers, I can’t help but enjoy this berserk black/death album. 

Highlights

''The Scapegoat''

''Lord Of The Funeral Pyre''

''Envenomed''

Final Rating

Awesome [8.4/10]

Angelcorpse - Exterminate [1998]

US blackened death metal legends Angelcorpse were the definition of war metal. Everything the band did in the 90’s was gold, and alongside Blasphemy, Gospel Of The Horns, Conqueror, Destroyer 666, Angelcorpse were one of the bands which had a massive impact of the modern black/death scene, pretty much innovating all the bands which featured extremely aggressive riffs with loads of speed, precision and corpulence. Their music is absolutely crushing, devastating, and culminating with aggravating lyrical content of war, war, and war. To make a long story short, Angelcorpse innovated the black/death scene as we know it, and to this day, their tracks reek of nothing but war, destruction and complete devastation and abhorrence against humanity.

Their sound is defined by pummelling drum beats, shattering and scathing visceral vitriol all around, and the closest comparison would be the primal war metal bands of the 90’s with additional blasting elements snatched from the Florida death metal scene to boast the rambunctious, devastating porthole of riffs, sprayed upon the listener within an instant. Although all of Angelcorpse’s albums are robust excursions and perplexing brutality and ravaging decimation, their second offering ‘’Exterminate’’ ultimately lives up to its name, fabricating and culminating the utmost brutality that Angelcorpse ever bestirred. ‘’Exterminate’’ is such a complex warp of constantly deviating disaster that it never seems to cease in speed and the richly layered textures are always on the work, either pummelling guts of rapidly surfacing through flesh, but constantly damaging all the same.

With its intellectual approach to blackened death metal, ‘’Exterminate’’ sounds almost like a slightly technical death metal album, but the fog of seething old school black metal corruption makes sure such an event never occurs, stabilizing the album’s position as old school. Although Angelcorpse take a plentiful measure of black metal and shove them up the furious death metal content, ‘’Exterminate’’ has evolved in a way that renders the black metal influence nearly invisible, and the black metal traits have slowly blended with the death metal traits, forming a fusion that harnesses the energy of both within one wreathed chord whirlwind.

‘’Exterminate’’ will batter down the walls of your ears. It’s monstrously crushing, contemptuous, and writhing. While it can easily shatter with its terrific line of turbulences, it still tends to add some variation into these violent incursions, embellishing the outrageous chord fluctuations with diverse melodies here and there, and you’ll also see a massive breakdown at seldom, where the music channels into one smashing thrash chug all of a sudden. The vocals are raspy and to the point, exhaling words without procrastinating anything, and the drums are just as ill-tempered as the guitars, rolling in and forth between blast beats, blast beats and yet more blast beats. ‘’Exterminate’’, alongside with Angelcorpse’s early work are masterpieces of brutality, and a completely different view of war as we know it. 

Highlights

''Reap The Whirlwind''

''Wartorn''

''That Which Lies Upon''

''Sons Of Vengeance''

Final Rating

Almost A Masterpiece [8.9/10]

Immolation – Dawn of Possession [1991]

Something about Immolation’s debut album “Dawn of Possession” was just… special. Immolation have never really sounded much like other death metal bands, I mean, you can compare them to Incantation and Autopsy (the two bands their sound is closest to) all you like, but there was still something to their sound that sets “Dawn of Possession” apart from the other classic death metal albums that were released around the same time…

Perhaps it was the rhythmic experimentation present in the way that the drums and riffs worked together; with the drums following the guitar instead of the other way ‘round as per the norm, or maybe it was the way their two guitarists played off each other and created tension within the riffs, or it could have just been the well thought out song structures that set Immolation apart. Whatever it was, “Dawn of Possession” was and still is one of the most important death metal albums of the early ‘90s.

The first thing I always notice when I hit the play button when this is in my stereo is how truly sinister and evil Immolation managed to sound at the time. Utilizing insane tempo changes and subtle elements of technical prowess, the songs flow effortlessly between mid-paced thrash stomps and all out blasting death metal tempos, occasionally slowing it down to a total crawl. The drum, bass and guitar work featured on this record is some of the most well played metal you will ever hear… forget those ridiculously over the top techwank bands that pop up all over the place these days; Immolation already blew them out of the water way back in 1991. Special mention also needs to be made in regards to Ross Dolans’ vocals; this man is the reason death metal vocals sound the way they do today.

The production on “Dawn of Possession” is cavernous and crushing, yet clean enough to allow the instruments to breathe and show their worth. It is one of the most suitable mix jobs you will ever hear on an album.

Each and every song is a classic; leaving me completely unable to choose any particular favourites and I really cannot imagine listening to this album any other way than as a complete piece. Because that’s what this is: a total masterpiece of mind-blowing American death metal perfection. There are a few death metal albums that I, personally, would hold over this one in terms of greatness, but not many.

Highlights

Into Everlasting Fire
Dawn of Possession
After My Prayers
Those Left Behind
Despondent Souls
Burial Ground

Final Rating 
Masterpiece [9.9/10]

Pentacle - ... Rides the Moonstorm [1998]

Fronted by Wannes Gubbels, who you may recognize as a former member of death metal legends Asphyx, Pentacle is an old-school death metal band that was formed way back in 1989 who combine the influences of early Celtic Frost, Death, Asphyx, early Pestilence and 80’s German thrash into a delicious melting pot of old-school metal.

Pentacles sound consists of razor-sharp thrashy death metal riffage with a Celtic Frosted guitar tone, mostly d-beat drumming that occasionally changes it up, Van Drunen/John Tardy-esque vocals and barely audible but solid bass work. The tempos are mostly mid-fast paced and rather thrashy with the occasional slow and heavy intro. The production is standard for mid-90’s death metal; thin and distorted guitars, not much bass and a decent but slightly dull drum sound.

Production flaws aside, and excusing the 50 minute length which tends to drag the album out a bit longer than it should, “… Rides the Moonstorm” is a killer album full of great songs such as; “Yielding to the Scepter of Flesh”, the opening title track, “Baptism in a Fiery Void” and “Raised by Nights Chaos”, to name a few. With a band motto like “Don’t forget the ancient feeling… it still rules!!!”, it’s pretty clear what Pentacle is all about and they do a good job at keeping the classic death metal spirit alive.

Highlights:
"Yielding to the Scepter of Flesh"
"Baptism in a Fiery Void"
"Raised by Nights Chaos"

Final Rating:
Awesome [8.5/10]

Torchure - Beyond The Veil [1992]

Torchure were actually quite a promising death metal band, alongside some of their fellow countryman Jumpin’ Jesus, Morgirion and Atrocity (who unfortunately leaned towards Goth later on), but they were also one of those short lived bands, disbanding just a few years after  their creation. Civilisations become destroyed too, but their culture and creations live on forever, which just might be the case with Torchure. This, their debut album is probably the better known and the better of the two consecutive releases they unleashed, bringing Torchure’s prime elements on the last on table; a doomy cluster of unbridled thrash and death, joining to exhale a depressive bombard of riffs, doom-laden, yet surprisingly vigorous.

The album has queer song structures, and with such as mash up of death, thrash and somewhat melodious doom, they almost fabricate their own distinct sound, one that’s different from the US and Swedish old school death metal scenes for a change.  With such ambitious textures set, the band proves to be much more dexterous and experimental than many other groups who dwelled during the same time, but their efforts also effects the way the album moves, and with the subtle doom metal worshiping done and the nearly fifty minute album length, ‘’Beyond The Veil’’ turns into a laggard of an album, cauterizing and encompassing the victim very, very slowly. And due to its length, this record is something that you definitely have to spend your time with, so that you may fully comprehend the absurd structures behind the plain, comprehensible riffs.

The sluggish approach may be irrelevant at times, but it also relieves the listener from any sort of depressing, or moody need, like a recompense for the long, drudgy moments. The guitar tone is really a nice addition, because its somewhere between chubby, gritty and thin, and once the leads of melodies jump in, the tone blankets itself in an even nicer, warm, subtle and oozy tone with a little bit of cavernous melancholy even. And like I said, Torchure are more adventurous than many other acts of their time, and they’re unafraid to insert tons of drowning melodies on top of their crunchy riffs, serving as even more captivating hooks than usual, and of course, proving that the band isn’t at all inept in musicianship.

The percussion is well done, nothing more, but the vocals are exceedingly filthy and grotesque growls and rasps, and even gurgles when the vocalist drenches himself in repugnance. But the album as a whole is not really murky and even filthy for that matter, but doomy, ponderous and mighty, laden with musical prowess.  Throughout the whopping fifty minutes of doom-oriented death/thrash, you’ll find a fairly extensive amount of variation; sometimes you’ll feel the brisk attitude of thrash leaping in, like on ‘’Abysmal Malevolence’’ or ‘’In His Grip’’, while melody freaks will profoundly love ‘’Depressions’’, but the ultra opus of the record is the eleven minute doom metal epic ‘’Resort To Mortality’’, a transcendental slab of traumatizing riffs, and don’t forget that wherever you go, keyboards are always going to follow you. ‘’Beyond The Veil’’ stands out as a peculiar and gripping release, and for people who enjoy its dragging monotony more than me, it's a delicious feast. 

Highlights

''In His Grip''

''Resort To Mortality''

''Apathetic''

Final Rating

Awesome [8.5/10]