Bastard Grave – What Lies Beyond


What Lies Beyond is the 6-track début album from Bastard Grave on Pulverised records. This is Old School Swedish Death metal and damn proud of it, begone the Gothenburg style, all hail the punk infused buzzsaw guitar tone of Nihilist/early Entombed.

As ever the downside of anything ‘old school’ is that you know exactly what to expect. downtuned HM-2 Buzzsaw guitars? Check! Short, simple punk inspired riffs? Check! Abrasive solo’s? Drums that sound like someone falling down a flight of stairs? That sense of not being able to finish the album because you already know what the rest will sound like? Check, Check, Check!

Being old school it makes BastardGrave challenge to stand out that bit more difficult, and it’s to be noted to their credit that they do indeed achieve it on many occasions.

Starting off with ‘From The Depths’ we’re greeted with borderline sludge levels of feedback and a dry vocal roar, swiftly followed up with a round of rough and ready drums. The statement is made and you know exactly what you’re going to get. The blueprint of Stockholm is being followed closely, so far, so old-school, although there’s also more than a nod to more modern adherents to the sound such as Trap Them.

At times, particularly during the first two songs in the album, the pace can vary and drop a bit; this is most obvious during that opener, which seems to wane somewhat after the first few minutes and the fury seems to peter out. Fortunately by the time we get to track three, ‘Stalker’, the band are showing an upswing in confidence.

Later on in the album, especially with stand-out tracks ‘Bastard Grave’ and ‘Path To Extinction’ the riffs seem to get longer and the song-writing moves away from straight up homage and it’s this feeling of them finding their feet musically which is actually quite potent. Faster and more confident, the riffs chug along like an asthmatic steam train. Crusty, dry vocals and the stuttering yet pummelling old-school drums, it’s here that the promise is by far the most notable.

A début album is still early days for any band but Bastard Grave actually show a considerable amount of promise, they don’t do much which is groundbreaking but what they do, they do very well indeed.




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Bloodbath – Grand Morbid Funeral


As far as supergroups go, few come more awesome than Stockholm’s Bloodbath. Formed as a hobby by Katatonia members Anders Nystrom and Jonas Renske along with Opeth mainman MikaelAkerfeldt and producer extraordinaire DanSwano back in 1998 with the simple desire to pump out some filthy old school death metal, it’s unlikely they ever would have expected to become one of the biggest and most well respected bands in the scene, although given their combined status the result was pretty much a foregone conclusion.

After releasing three blood-splattered and evil sounding albums but having to deal with the departure of Akerfeldt and Swano, some might have expected these veterans to stop playing with the corpse and allow it to rot in peace. However the desire to riff fast and ugly is a strong one and a new vocalist has been found in Paradise Lost frontman Nick Holmes whose new role is elementary (I can’t believe you just did that – Ed [and I can’t believe you wrote an ‘Ed insert’ for me – Dep Ed]) given his growling performance on PL’s classic debut record LostParadise (Peaceville).

But is Old Nick’s presence behind the mike enough to ensure Bloodbath remain deadly in a scene rife with sharp-eyed competition? One listen to Grand Morbid Funeral (Peaceville) proves the answer is an emphatic, bellowed yes!

As the serrated riffs of opening track ‘Let the Stillborn Come to Me’ tear out of the speakers like an escaped serial killer on his way to a nearby summer camp, the primal fury of Death Metal is fully revealed in full-blooded, hate-filled form and as the track settles into a disgusting Dismember-esque groove, you’re reminded just how much this music kicks ass and lops off heads with abandon. The buzzsaw guitar sound, as much a part of the Swe-death scene as any notable record you could care to mention, is heavily evident in the marching attack of ‘Total Death Exhumed’ which also features some suitably gloomy lead-work, while the ramshackle chugging of ‘Anne’ evokes images of a demented butcher manically hacking apart corpses in some benighted slaughterhouse.

Bloodbath records have always relied on frantic pace and aggression to get their gruesome message across and while they may lack the precision of Cannibal Corpse or the bad-time grooves of latter day Entombed, their modus operandi is built on a basis of seeing how many people they can kill in the room with a rusty chainsaw before the police take them down, rather than methodically picking off victims. It’s a messy approach, aided by a suitably grimy production but which gives proceedings a rabid and unclean feel, and when they do slow things down slightly such as on the gut-wrenching crawl of ‘Church of Vastitas’ and the grotesque melodies of the title track, the atmosphere drops to especially ghastly levels of hopelessness.

Nystrom and fellow axeman Per Eriksson focus more on tearing our minds apart with a seemingly endless selection of slashing riffs, gloomy melodies and frantic solos while drummer Martin Axenrot flays the skins with an unfussy, methodical determination. Holmes may not have the deepest growl and he is buried too deep in the mix to have a massive impact but his sinister tones give the music a depraved grandeur and when all of these elements combine like on the unrestrained ferocity of ‘Famine of God’s World’ and the monstrous ‘Beyond Cremation’ you’ll be wishing that all the members quit their day jobs and focus on pumping out more of this filth every other year.

There’s enough elements of the US death metal scene to ensure that this isn’t just a caricature of the Stockholm sound, but it’s undeniable that Bloodbath are to all intents and purposes a nostalgia act and a way for a bunch of blokes nearing their 40s to act like they were teenagers again. But some of the best death metal albums were made by whippersnappers so as long as this bunch of morbid Swedes and one ghoulish Brit keep failing to act their age, the world of extreme metal will stay suitably macabre.


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