What’s the best strategy when it comes time to record a follow-up to a critically acclaimed album like 2017’s Blood Offerings? Well, for Necrot it seems as simple as following the course. Yes, that approach on paper does come across a little reductionist and it may imply that Mortal (Tankcrimes) is merely a rehash. But while Necrot may not be reimagining the genre on Mortal they are serving up some of the most satisfying Death Metal today.
I’m beginning to notice a bit of a trend amongst modern Death Metal bands, and by beginning to notice I mean this has probably been happening for a while now. Loads of newer acts like Horrendous and Gruesome are quite eager to strap on the Nike high tops, leather jackets and reminisce about the good old days when guys like Chuck Schuldiner and his outfit Death were blowing the Thrash dudes out of the water with albums like Scream Bloody Gore or Spiritual Healing. Undead Prophecies’ Sempiternal Void (Listenable Records) sure as shit sounds like they’ve been inhaling the ash of whatever’s left of Morrisound Recordings. Continue reading
Born out of a ferocious love and respect for Death’s early and face-ripping work, Gruesome, the brainchild of Exhumed’s Matt Harvey and Death To All’s Gus Rios are ready to unleash a new full-length onto the world in Twisted Prayers (Relapse). Some may wonder how they’ve stretched out so much from Death’s songbook to cover two LP and a couple of EPs, and the answer is by writing ferocious and infectious Death Metal…
The 2017 Decibel Magazine Tour kicked off last week, and we have exclusive footage from their stop in Florida. Continue reading
Released twelve years ago, Albert Mudrian’s anthology of Death Metal has stood the test of time; an engaging read taking you on a loose zig-zag through the birth and, um, death of Death Metal. Unveiled through the eyes of its’ progenitors, there is method to the tale that begins in England, moves to Tampa, takes in Entombed and Scandinavia and reserves a special mention for the oft overlooked Dutch input of Gorefest and Pestilence.
Undertaking a task as complicated as trying to find the true source of the Nile (Karl Sanders – badoom tish!), Mudrian begins his tale by trying to uncover the birth of what became known as Death Metal, settling on Napalm Death and their 1985 era hybrid (Siege meets Discharge meets Celtic Frost) of hardcore punk, thrash and a desire to be harder, faster, sicker than everyone else. The book then focuses on the influence of their Scum release (Earache) on other vital artists, like Morbid Angel (via Pete Sandoval, then in Terrorizer) and the incestuous, small nature of the scene where, due to tape trading and pen palling, most of Death Metal’s predominant protagonists all knew and inspired each other.
As the tales unfurl, you find yourself swept up and wanting to revisiting all the classic albums that are mentioned – Possessed ‘s Seven Churches (Combat), Pestilence Consvming Impvlse (Roadrunner), Massacre From Beyond (the story of Massacre’s signing to Earache being another fun aside revealed in the book) and Master Master (Displeased) forming part of my own soundtrack while reading.
The re-issue picks things up as the roots of recovery were just sprouting through the top soil at the tail end of the 90’s, highlighting the rise of a new DM general in Nile. After touching on the diversification of Death Metal of this millennium, including the mind-sucking brilliance of Portal and their focus on eldritch, dark atmospheres, Mudrian covers the popularity of technical Death Metal (a section that introduced me to Necrophagist and Obscura as you can’t help but be enthused to check all the recommends as you go) over the last decade. The tome now concludes by covering the return to the scene of the apex predators with Carcass, At The Gates, Death (DTA) and others reforming to reap the benefits of their respective legacies and the rewards of the now lucrative and high profile festival market, and to satisfy an urge that, in the case of Bill Steer, they didn’t even know they had. If you read the original, the added content is an agreeable appendix.
Peppered with short anecdotes, but above all an informative and enjoyable potted history of Death Metal, all imparted with the enthusiastic love that a doting parent has for a child, Choosing Death is an affectionate, if whistlestop, walk through of the story of Death Metal to date. In the authors’ own words, he is “Just a fan. Just like you.” He just happens to be a damn good writer who has written The Improbable History of Death Metal & Grindcore. And updated it.