While it seems strange to refer to a sound that has been around for over two decades as “modern”, it feels completely accurate to describe the sonic barrage of Aeon as Modern Death Metal. Renowned for keeping the intensity levels up – backed by a production to level small towns with its ripped, lean torso – for their fifth release Swedish violence-dealers have shown no relenting despite lockdown, No extra inches have been added to their waist-bands, and no sign of flabbiness added to their carb-free sensory assault.
There is a powerful being that has arrived with one goal in mind: wreak havoc over everyone and everything until existence itself is all but wiped out. But it’s not a pandemic, it’s Praenuntius. The South-African six-piece Vulvodynia is responsible for this entity, and they’ve told its story via Praenuntius Infiniti (Unique Leader Records) in the form of crushing Deathcore and downright nightmarish lyrics.
It’s been over thirty years since Liverpudlian grindcore bastards Carcass left people gagging to the gloriously gory cover of debut album Reek of Putrefaction (Earache) and reeling to the twenty-two charmingly immature blasts of vomitous noise dripping inside. Symphonies of Sickness delivered improved musicianship and longer songs, Necroticism – Descanting the Insalubrious and its divisive follow up, Heartwork, continued that trend but the run ended in 1996 with the rather lacklustre Swansong. Rebooted and reinvigorated (but sadly minus drummer Ken Owen due to health issues), Carcass returned with a bang in 2013 with Surgical Steel (Nuclear Blast Records) and now, after a gap of eight years, they’re back. Again.
It takes a lot of blood, sweat, beers to make it in the music business. A lot of bands form around a good idea, some beers, mutual bands, or a few riffs, heat up, run cold and call it day. Few bands have the temerity to overcome real adversity with all the music industry shit that crushes your soul. If you know, you know. Graveslave has overcome the death of their original vocalist Don “Doombringer” Durkee in 2019, and are still here. Putting out a killer EP during the lockdown Devotion, and now a new album, this is far above what most others could muster. No matter what happens in their career, they have defied the odds for the love of music.
At The Gates is a household name to every Melodic Death Metal fan out there. Formed over thirty years ago, this group of guys invigorated the scene by gifting the people with their unruly and extreme proclamations. Along with several other eager acts from their hometown, like Dark Tranquility and In Flames, ATG bolstered what is now defined as Gothenburg Melodic Death Metal. The signature sound that they captured still storms the scene today, showing off the band’s Swedish roots with a grim and wistful flourish. They continue on to profess their dark truths on their new seventh full-length record, The Nightmare of Being (Century Media Records).
While all things toxic (waste; holocausts; um, waltzing) have long been a regular bedfellow for the lyric writers and album cover artists that inhibit the pungent worlds of Thrash and Death Metal, it also lurks in another sense; behind the scenes and pervading the environment of many bands relationships. Escaping the cryptic realms of one such biohazard of a relationship was a necessity for legendary bassist Terry Butler (Obituary, Death, Six Feet Under), guitarist Taylor Nordberg (Wombath, Ribspreader), and vocalist/drummer Jeramie Kling (Venom-Inc, Goregang, The Absence). Continue reading
Back with another album cover deemed unsuitable for public consumption, it’s nice to see death metal legends Cannibal Corpse still shocking the squeamish and easily offended. Having to replace controversial artwork with something a little more palatable had almost become a tradition at one time but the new record Violence Unimagined (Metal Blade) is the first time the band has actually been deemed worthy of censorship since 2012.
The peculiarity of Technical Death Metal is the capability of exploring itself, yet creativity begins to fade when there’s a vast repertoire of bands of this kind, which have made history on the underground’s music scene. Certain musical groups stick to follow a simple and uncomplicated path, keeping a comparable sound with many other bands that continue to perform in this genre. Let us consider the huge waves of Technical Death Metal in the eighties and in the nineties and how it reinvented itself to the present day. Bands such as Suffocation and Gorguts trace Technical Death Metal’s status as a whole, releasing records and records without losing its own legendary position, carrying bloody and filthy anthems for dozens of years. Continue reading
There was a time where Metal had an ageism problem; the perception prevalent that once heavier bands passed certain milestone birthdays or anniversaries, or wracked a certain number of albums, or miles on the road, they became jaded, watered-down parodies of themselves. The late nineties, and, to be fair, a good chunk of the first decade of this millennium, were not kind to our grizzled veterans, some of whom fed into the prophecy, with stock output outweighing those who could still hold their own.
Over thirty years ago, England’s own Carcass came to the scene and shared their glorification of grind and gore. The unhinged and manic sound they conjured found an audience and quickly gained popularity, along with their contemporaries Napalm Death and Godflesh. The surge of the extreme had its time in the sun, but after their 10 year hiatus, Carcass came back in a slightly different mood. In 2013, the group took their well-known viciousness and molded it in with more melody on their sixth full-length, Surgical Steel (Nuclear Blast). They married Grindcore and Melodic Death Metal on that record which got a lot of attention and reminded everyone why these guys are such an original act. After seven years, the band is back again with their EP, Despicable (Nuclear Blast). In just four songs, Carcass takes their significant union of sounds and exemplifies them with new levels of pandemonium. Continue reading