From the cover art of their Winged Death (Century Media) 7” EP released back in May, to its 1970s style typeface and the name of the band itself, you don’t have to be a genius to work out that Swedish act The Lurking Fear are about all things old school Death Metal, and Lovecraftian themed horror. Continue reading
With California Deathfest in the rearview, the team behind Maryland Deathfest turns its attention to already completed Netherlands Deathfest event next March, less than six months away. Details below: Continue reading
As any fool who follows the metal scene can tell you, there’s one hell of a lot of albums out there to listen to. New bands are emerging at an unprecedented rate, the old guard you thought long-dead are reforming quicker than you can say “Greatest Hits Tour” and bands that really should just lay down and die are instead locked into a seemingly never-ending cycle of record/tour/record, regardless of whether their fans have had enough. Grave Digger, Illdisposed and Paganizer have released forty albums between them. Does anyone own any of them? Thought not…
So, what about the bands who released just one full-length before disappearing into obscurity? What impact have these single-figured artists had on our beloved scene? The answer is quite a bit. More than quite a bit, in fact… With that in mind Ghost Cult is proud to present the fifteen essential albums by bands that only gave us one opportunity to hear their wares.
Read on and see if you agree.
Repulsion – Horrified (Necrosis, 1989)
Once regarded as the fastest band in the world, along with being one of the innovators of grindcore along with Napalm Death and Terrorizer, Flint, Michigan trio Repulsion released Horrified in 1989 to a largely unsuspecting public. Its light-speed, hideously ugly legacy has endured to this day, with the band still headlining festival stages on the strength of this one 29-minute recording. Featuring some of the most frantic, caustic riffage ever captured, along with suitably sickening lyrics and of course, that iconic goofy zombie on the front cover, Horrified is an extreme metal classic that you will never get tired of spinning. If you don’t lose your shit when the riff to ‘Black Breath’ begins you probably aren’t human.
Carnage – Dark Recollections (Necrosis, 1990)
When you think of Swedish Death Metal the obvious names that spring to mind are Entombed, At the Gates and Dismember, but there is one often overlooked act whose contribution to the genre is utterly essential. They were Carnage, five spotty oiks from Stockholm whose sole release Dark Recollections was perhaps the purest embodiment of the Sunlight sound that all bands of the genre strived for; buzzsaw guitars, twisted melodies and indecipherable barked lyrics concerning violence and death. Given the whiff of grindcore that imbued the recording it was unsurprising that guitarist Mike Amott soon jumped ship to join Carcass while the rest of the band merged with the remnants of Dismember. However, the spirit of Dark Recollections was absorbed into that band, a more than fitting legacy for an album of such macabre excellence.
Winter – Into Darkness (Future Shock, 1990)
Picture if you will, planet Earth devastated by a nuclear holocaust; a grey, rotting visage of sunless skies, obliterated cityscapes and blasted landscapes. Now imagine that some malign sorcery has resurrected the corpses of Celtic Frost to be this ruined world’s own house band, playing endlessly on only for the benefit of the endless piles of corpses that stretch to the blackened horizon. This is what Into Darkness by New York trio Winter sounds like. Arguably one of the most miserable, lifeless recordings of all time, this is a tortuous forty-six minute crawl through wretchedness via the medium of lethargic doom riffs, clattering percussion and gruff, indifferent vocals. You’re not meant to enjoy it and it’s no surprise Winter only managed one EP after committing this monstrosity to tape.
God Macabre – The Winterlong (M.B.R., 1993)
Another Swedish death metal act that lasted all too briefly, that isn’t to say that Vålberg’s God Macabre didn’t have the talent, as anyone who has spent time with the short but sick The Winterlong will enthusiastically tell you. Far more morose and bitter sounding than most death metal albums that were being released at that time, their sole release may have only lasted twenty-seven minutes but the songs on offer had ‘timeless’ stamped all over them, blending catchy yet savage riffs with mournful melodies and an innate disgust and horror at life. Recently re-issued with the band reforming last year, now is the time for those unacquainted with this forgotten classic to recognise one of the most important bands in death metal, in Sweden or anywhere.
Disincarnate – Dreams of the Carrion Kind (Roadrunner, 1993)
With death metal already beginning to show signs of creative stagnation in 1993, it took the twisted vision of one of the genre’s most talented and well-travelled soldiers to show that all was not lost and that where there was death there was life. Enter James Murphy, who after stints in Death and Obituary decided to take the lead, which he did with the utterly brilliant Dreams of the Carrion Kind under the Disincarnate name. If you thought Death had started to sacrifice songwriting in favour of technicality, found Obituary a tad dull and Suffocation a bit too over the top then your prayers were answered, for Murphy somehow managed to filter all the plus points and none of the weaknesses from those aforementioned bands into one of the darkest, endlessly fascinating and still inherently listenable Death Metal albums of all time. Their split was a tragedy that often comes with an excess of talent but news that the band has reformed is a hopeful sign that more people will soon become aware of Dreams of the Carrion Kind and the brilliance of James Murphy.
Ramen is truly some food of the god. I subsisted on all of Friday and most of Saturday with the aid of four of these magick squares. Only a dollar each at —you guessed it— Dollar Tree. Stock up for the apocalypse on that shit.
Ramen unfortunately couldn’t help Diocletian’s very evil brand of blackened death be more than an okay attempt at the sound of canned hell. Dark, swirling riffs and blasts ringing from bottomless pits is cool, but variety is severely lacking. Entrails, however, came to save my life —or end it, rather?— with their sticky, sweet old school Swedish Death Metal, complete with a logo that looks suspiciously like Entombed’s.
Spain’s Machetazo brought yet more evil to the fore with their wicked gore/death inflected grind, en Español. Hearkening to bands like Regurgitate and fellow countrymen Hæmorrhage, they seem uninterested in being unique (and with Grind, that’s quite a feat), just brutal, and they’ve certainly succeeded in that regard.
God Macabre, yet another group of old school Swedish Death heroes long forgotten, made their first appearance in the U.S. here, and probably was in the top three bands most likely given to old ladies if they asked fest-goers what “concert” they were heading to. With only one full length to their name, ‘The Winterlong’, you could probably guess the setlist, plus a cover of a Carnage song. Forget which one, but it was damn near heartwarming when vocalist Per Boder smiled in delight when the crowd reacted positively to the name of their fellow deathheads. “I guess they’re not so underrated after all.” You bet’cher ass, bud.
When one thinks of progressive death metal, Florida’s Nocturnus (A.D.) should ideally be what comes to mind alongside acts like Pestilence, Atheist, and Death, though admittedly I hadn’t heard of them until I saw their name on the line-up. Playing their seminal album The Key in full, Nocturnus prove that synths don’t necessarily have to end up sounding cheesy when used alongside brutal music.
Vocalist/drummer Mike Browning (ex-Morbid Angel) seemed to be having loads of fun blasting and growling simultaqneously for such uplifting tunes as ‘Standing In Blood’, ‘Lake Of Fire’, and even a special cover of ‘Chapel Of Ghouls’, how rad’s that shit, homie? I think they even played a Death cover, but I could just have been imagining it. Setlist.fm isn’t helping my case.
The original Speed Metal Drunks (who’s Municipal Waste?) in Germany’s Tankard were clearly not hammered enough; they could still play their instruments. The crowd was one-upping the fuck out of them, however, with a beer-soaked circlepit despite the blazing sun cooking them through. Songs about zombies, and beer. Party. It’s fun stuff, though not the absolute greatest that thrash, has to offer, nor is it the best that humour has to offer, but these krazy Krauts won’t fail to get a chuckle or headbang out of you.
Finally taking my non-drunk self to the Soundstage to catch DropDead for my third or fourth helping this Gregorian year, I first caught Sweden’s d-beat heroes in Victims. They play a version of the genre that reminds me of Martyrdöd, with more melody than is normally allowed, and less ear-fucking distortion, though weren’t quite as captivating as I would hope. Had they played it straight Swedish and aped Anti-Cimex or even Finnish contemporaries (all Scandinavians are the same, right?) in Riistetyt and Kieltolaki, I dare say they’d be more what I was seeking. DropDead, however, are consistent in their delivery, combining crust punk, powerviolence, and d-beat cooked the right way; raw and still bloody.
Between socio-political and generally ‘wake-the-fuck-up’ rants came short but intense bursts of distilled punk fury, very rarely going below speeds safe to drive on the highway. The setlist seems to have changed, as they are including more new material that, while less speedy than the material of old, still has its fangs, yellowed with age but reddened with new blood as they press on. There was a special guest appearance, but I’m not sure if I’m allowed to even mention it, though I will mention that they played a cover of Siege’s ‘Drop Dead’, and as an extra spiffy bonus, a cover of ‘It’s Not What It Seems To Be’ by fastcore/powerviolence legends Lärm. Sweeeet.
With Nocturno Culto finally bringing his drunk ass to America only to not play in Darkthrone was a disappointment to many, but I suppose Sarke is the next best thing. Who knows, maybe Fenriz’ Red Planet will stop by to play material from Engangsgrill in a few years.
At least the crowd hungry to hear one song, any song by Darkthrone got their wish, sorta, since Sarke played a ‘cover’ of ‘Too Old, Too Cold’. Clearly the case since Nocturno is never seen without a leather jacket. A weird mix of black-ish metal, normal-ish heavy metal, death rock, and whatever else Nocturno deems the right thing to do these days, it was interesting, but c’mon. Darkthrone. Not gonna stop saying it ‘til it happens.
True Norwegian Viking Death Metal warriors in Unleashed were something. Among my main draws to the fest this year, it’d be wrong to say I was disappointed, but underwhelmed is the word I’ll go with since their set was noticeably lacking in the glorious potential they are capable of.
Having a staggering 11 full-lengths of Nordic praise, and my having only heard 5 or 6 of them in full (not counting the …Revenge demo), I knew there were gonna naturally be some songs I wouldn’t know well enough to fistpump to. However, the lack of ‘In Victory Or Defeat’, ‘Warriors Of Midgard’, and prime material from As Yggdrasil Trembles was distressing. To add to the discomfort, they stretched out some songs by at least two or three minutes (‘Death Metal Victory’ count: 8+), thus cheating themselves and the audience out of more songs. It sucks that happened, but at least Johnny Hedlund brought out a Viking drinking horn, and the predictable happened. My diagnosis: they were drunk. To Asgaard, their brains flew.
Next up were Dark Angel, who’ve probably got more riffs in a single song than an entire Bolt Thrower album (or two), arrived to show us that indeed, time does not heal, because Thrash is a lifelong disease.
Now recovered from a spine injury that left him unable to move, much less sing, Ron Rineheart is now back in action, and the L.A. Caffeine Machine is back to brewing. With speeds equal to or greater than that of even the fastest cuts on Sepultura’s Arise, it’s a wonder how Dark Angel never got up to the Big 4 instead of Megadeth, who stopped being thrash after Killing Is My Business. Oops. They’re as virile and potent as 14-year old sperm after all these years.
Following U.S. fast with U.K. fury were Extinction Of Mankind, who, while not a founding band in crust (having formed in ’92), are as important as acts like Deviated Instinct and Hellbastard when assigning blame to old British guys spreading this filth. Their particular style is that popularised by acts like Misery; slow-churned Thrash infused riffs, barked vocals, and a steady beat to break down the walls of establishment. Naturally, the scent of unwashed dreads is the only perfume to adequately accompany such sounds, what with their LP Baptised In Shit, and all. I saw them again in someone’s basement a few days later, maybe I’ll review that too. Maybe.
I took a little nap during L.A.’s Excrutiating Terror, who weren’t all that painful, nor scary, to be honest. It was decent grindcore, though not too much of a racket, so I caught a few Zs before heading over to catch the real death metal bastards in Asphyx, because what the fuck is a Schirenc? I’d have liked to have caught ‘Shrunken And Mummified Bitch’ live, but The Church Of Pungent Stench would be a much more sensible name, aye? Or even Pungent Stench A.D., in keeping with what seems to be an MDF tradition? Whatever.
So, The Netherlands’ Asphyx, fronted by one of the few aside from John Tardy who can audibly sneer while growling, Martin van Drunen belted out classics like ‘M.S. Bismarck’ and newer ballistics in ‘Deathhammer’ with equal ease and aggression, and the band are no slobs either.
Come to think of it, Hail of Bullets should play next year. Just a thought.
WORDS BY SEAN PIERRE-ANTOINE