Brutally Delicious Podcast, from filmmaker, YouTuber, and metal chef Bruce Moore and co-hosted by Kris Siegers has just released episode 18. The new guest on the pod is Riley McShane, vocalist of Allegaeon, whose new album Apoptosis is out now on Metal Blade Records. They discussed being on the 70,000 Tons of Metal Cruise, where Riley filled in on vocals for Cattle Decapitation, his side band Continuum, a lesson on guttural vocals and more! Continue reading
Wisconsin Death Metaller Casket Robbery is back with vengeance with a new standalone single and video! Their new song “From Hell” is brutal melo-death influenced attack on all your senses and kicks off a new chapter for the band, as their first release since 2017’s The Ascension EP. The video premiered at Decibel, but you can watch it below now! Continue reading
Oh look, Hate Eternal has a new album on the way. Sweet, let’s see how long it takes before I run out of adjectives to describe brutal Death Metal. On Upon Desolate Sands (Season of Mist) I think I made it to ‘Portal of Myriad’ only to realize I was running on fumes. I’m not sure what kind of pact Erik Rutan struck up with Cthulu, but it’s given him access to enough pulverizing song ideas to power seven long-players and produce countless Death Metal standouts. Continue reading
It may have taken thirteen years to follow-up their sole release, but with a cast that includes Misery Index, Cattle Decapitation and Scour alumni, the trials of time can be forgiven with Cast The Stone, and new EP release Empyrean Atrophy (Agonia) shows that this band has a lot more worth than simply being a side dabbling for them. Continue reading
In the ever crowded and, as a result, often maligned style of Technical Death Metal, Dying Fetus are not only one of the original innovators of the genre, but have remained to this day as one of its standard bearers. Capturing the perfect blend of complexity and dynamism with pure brutality, the likes of Destroy The Opposition are modern day genre classics and are why Dying Fetus are so beloved in the death metal community to this day. Continue reading
It’s becoming painfully aware that 2017 is a smashing year for Death Metal. We’ve had an embarrassment of riches in the form of stellar releases from Obituary, Hour of Penance and Suffocation and there’s more coming down the pike from the likes of Dying Fetus, Origin and (gasp) The Faceless. Not to be left out of this guttural gold rush, Chicago’s gore institution Broken Hope have thrown their hat in the ring with Mutilated and Assimilated (Century Media). Continue reading
At first glance of the title, one would think it’s awfully close to Chris Barnes‘s former band Cannibal Corpse’s album Torture (Metal Blade), and this is only where the problems begin. The twelfth album for Barnes and hired guns Continue reading
Italy’s own Hour Of Penance return with yet another scorcher of an album in Cast the First Stone (Prosthetic). In a quick but powerful thirty-five minutes, the brutal death metal foursome pack riff after riff into each of the nine tracks. Each track is built on top of riffs as to allow each track to stand out on its own without feeling random nor a mirror copy of the previous track. While this makes it difficult to decide which tracks to deconstruct, it serves as a plus for the overall feel of the album. Continue reading
Ghost Cult is pleased to present the full album stream of tech-death upstarts Fractal Generator’s debut album – Apotheosynthesis. For fans of the brutality of Deicide, Immolation and Pessimist, yet need that current extreme aesthetic in their life such as Decrepit Birth. You will love the complex riffery and masterful ryhthms. You can stream the album below:
“I’ve really become sick to death of where some bands have taken this idea of Technical Death Metal. What Should Not Be Unearthed (Nuclear Blast) is what I’ve been referring to as an “anti-technique” album. We are playing what’s generally called Technical Death Metal, but I see people playing songs that are composed of fast arpeggios, and tapping, and just a barrage of insane riffs that are all awesome, don’t get me wrong, but I walk away from it going ‘That was fucking awesome but I can’t remember a goddamn thing I just listened to’.”
Karl Sanders of Nile. is right. The death of the song, particularly in extreme metal, is a personal bugbear, as what made classic Death Metal great was that despite the raging, despite the brutality and extremity and full on technical ability of a lot of the greats of the genre, Death Metal used to be about songs. Many bands now are so concerned with showing off their flawless technique they’ve forgotten about “the song”. It’s a concept I remember speaking to Trey Azagthoth (a long-time friend of Sanders) back on the Formulas Fatal To The Flesh (Earache) tour, that technique is there to help you achieve the soundscapes and ideas in your head, but it should never be about how quick your fingers can flurry up and down the fretboard, how fucked-up a jazzy passage can be; unless it benefits the song, what is the point…?
“This album is anti-technique. I said to myself when I was writing “I’m not going to give a fuck whether this riff is hard to play, or whether it’s tricky or whether it’s simple or whatever the fuck it is, it doesn’t fucking matter. What matters is that it’s heavy, and I fucking like it. It might be a simple riff. It might mean it’s a tough riff. But the idea is the song is of paramount importance, and the riff is just a means to frigging get there.
“It’s automatically assumed, like a given in geometry – whenever you do a geometric equation, you start with a set of givens, they give you that, it’s bang, you gotta start there – being able to play your guitar is a given in technical metal; if you can’t play, you don’t get to walk through the door.
“So, this idea of anti-technique was mentally very liberating, it helped us to think “Let’s just write songs that fans will fucking appreciate, and we’ll have fun playing” and that’s the only concern we will go by.”
The Morbid Angel’s, the Death’s, even the Cannibal Corpse’s of this world possess or possessed some incredible musicians, but they all got to the status they did through writing great songs. It’s a shame that the skill seems to be getting lost in a flurry of arpeggios and syncopation.
“I don’t think it’s fair to the people listening to it. I think there’s a symbiotic, yin and yang relationship with the listener. For music to exist, someone has got to play it and someone’s got to listen to it. And if you don’t care about both sides of the equation, the shit will get out of fucking balance, and I think there’s been a lot of disrespect for listeners in recent years.”Nile. Photo by Hannah Verbeuren.
I recently had the joy of reading and reviewing ‘Choosing Death’ by Albert Mudrian. In it he highlighted that when Nile first burst on the scene, Death Metal was flagging. He mentioned you as the leaders of the Rebirth of Death Metal, and the band that helped “save” Death Metal… Did it feel like that at the time, was it an inspiration or the metaphoric albatross?
“It’s kinda like the Life of Brian movie. Brian is not actually a messiah, but everyone just thinks he is. We were just doing what we do, and for whatever reason, the wheels of fate were spinning, we found ourselves in a position where, even though we were at a point where Death Metal had died out, we were just playing what the fuck we liked. We didn’t care if it was popular or not, and had no thought of the bigger picture, or our place in it. So, we’re like the reluctant messiah.
“It’s like we opened the door, and the room was a mess, and we found a vacuum cleaner in our hands.”
Perhaps coming to the scene a bit later in life than some of their contemporaries helped to avoid producing the bloated, boring Death Metal of the late 90’s. Though Sanders was around, and knew many of the original greats, it wasn’t until a near decade after the birth of Death Metal that Nile became a serious entity…
“I think when you’ve lived a little bit of life, you look at things differently and see more. I’d seen enough of my comrades fall by the wayside. The road to your band getting somewhere is literally littered on each side with the wreckage of those who have gone before and failed. It’s easy to see other people failing, so by the time it was our turn, we could see enough to scare us into staying on the road.”
Death Metal, with reluctant saviours Nile a key part of its’ resurrection, is now as popular as it has ever been, particularly in terms of live tickets, and festivals often see acts like Carcass and At The Gates high up the bills. Yet where does Sanders see Nile? Are they one of the “historic” acts; a “classic” Death Metal band, or a current band?
“We see ourselves as still working hard to bring our music to the people, with still a lot of work to be done and places to go and still lots of things we want to achieve as a band. We had a very similar discussion the other day at a band meeting and it was decided we were going to play 6 songs from the new record. Maybe bands of our age, we’ve got 20 plus years as Nile, wouldn’t be saying that, they’d be saying which one or two songs of this new record should we play as we have to play all this old stuff.
“There are elements of our audience that will get angry if they don’t hear “that song”, and we respect that, and we realize that and do care about it, but we also care about staying vital and pushing forward.
“In life you have to walk with confidence, because how you present yourself is how people perceive you. So, if you want people to think your album sucks, don’t play it!”