Face Of Oblivion - Cataclysmic Desolation (2016)

Hailing from Minnesota, with members of Incinerate, Compulsive Mutilation and Acanthostega (which is a great band name and needs some more albums attached to it, oddly enough – it's black metal) we have death metallers Face Of Oblivion. To be fair, out of all the monikers that these gentlemen play under, they probably could have picked something a little better. To most, it might seem like these guys are a dreaded “three-word band” like Pierce The Veil or suchlike. Thankfully, that is not the case. Listener, you are absolutely not getting a fucking core record and I'd tell you that first-hand. Face Of Oblivion play a highly technical form of death metal that my former colleague would be quite interested in (thoughts are with him while under hospitalization) and it's a bit of a shame that he can't hear this one, as it's relatively strong. I actually didn't receive a digital promo for this one, so it took a bit longer than usual to review it as I had to make a personal rip of it.

While reading Resident Evil comics, I found that the grueling atmosphere of the disc fit the biological horrors portrayed in the comics quite well and that to me, was a plus. Most of the records I listen to are while I'm doing something else (I'm a major multi-tasker) so barrelling through those comics was certainly more enjoyable while listening to Cataclysmic Desolation than while listening to the other discs that came shortly after. The music itself comes across as a truly fearsome sort of brutal death with bits of technicality injected in areas, most of it all flowing together in a severely twisted format which delivers as much gore as it does precision. Adding to that, we have some rather intelligent song-titles like “Seismic Anomaly”, “Paradoxical Undressing” and “Scaphism” to name a few. There's no “Head Smashed In By Bulldozer” or “Cannibalistic Organ Feast” to be found on these disc. You might even call it a bit more scientific. The disc certainly sounds that way. But it's definitely a “mad science” in that respect.

Most of the record is completely devoured by Eric Baumgard's (Acanthostega, Breast Ripper, Compulsive Mutilation) drumming, as with most discs of this type. Fronting that of course is Jesse Watson (Incinerate) on vocals along with Cole Gunther (Bass) who also provides some background vocal segments. Chris Hensley (Compulsive Mutilation) is the band's main guitarist, and he's responsible for much of the absurd technicality that you'll hear spattered about the release, but he also provides a little bit of background vocal here and there. I would assume that while on stage you should expect the same thing from these guys, something of a demonic duet that would come off rather well in that format (depending on the PA and such) even though most of the tracks bleed into each other. Cataclysmic Desolation makes for a good soundscape, but it doesn't really have any major changes in tempo that differntiate from it's peers. The list of bands that these guys like are pretty much similar to how they sound, and nothing really makes them stand out to me in that regard. They're worth checking out for techy brutal death guys, but if you can't get into technical death metal like this already, then this record will certainly not change your views on the subject. Face Of Oblivion offer a rather frantic atmosphere with a few guitar tricks and perhaps a handful of solos, but they should consider branching out into a fashion that might make them ascend beyond the style of some of their peers. The truth of the matter is that most bands never really do that though, and I suppose what is offered here is good enough for me.

(12 Tracks, 34:00)

7/10

Blasphemer - Ritual Theophagy (2016)

Italy's Blasphemer are another great brutal death act, showing that they've no signs of stopping after such a wonderfully competent performance eight years after the release of the band's original debut (On The Inexistence Of God '08) which is an awfully long time in between discs, to be honest. Additionally, this album is a bit short at only a little under half-hour of playing time, but that's not a real problem as the performance is proficient enough to warrant the short tenure of the disc. One of the first things that I notice about this disc is actually two things: the drums and the guitars. Though that normally goes without saying and doesn't count out frontman Paolo Maniezzo's monstrous vocal grumblings, I really feel that there's an exceptionally strong chemistry between that of Darren Cesca (Deeds Of Flesh, Eschaton, Goratory, Pillory, Virulence) experimental drum compositions and Simone Bringo's (Beheaded) equally experimental and rather precise guitar compositions. Both of these guys love to experiment, and the record comes off as more of an abstract death metal (listen to Clod De Rosa's (Modus Deliciti) bass tinges here and there too, he's trying to add his own chemicals into the mix) recording that seems to carry on not only it's non-religious themes lyrically, but musically in the form of what I would call “scientific death metal.” If you don't adhere to religion, then you would naturally gravitate more to science, or satanic science as what I'd consider here with all the praise to the dark lord within the disc's lyrical matter. Regardless of the band's stance there, it is certainly an impressive performance that seems to deliver far more within the scope of the progression itself.

If for some odd reason the vocal performance cheapens it for you, just try to focus on the piece on a compositional manner. Even without Maniezzo's vocals, this is a very interesting lesson in musical chemistry and I believe that is the main selling point. This isn't the kind of groove-pummeling New York death metal that I reviewed earlier with band labelmates Dehumanized. Blasphemer offer something completely different. Regardless of the fact that there are over ten different Blasphemer's registered on the Metal Archives, (some of them are defunct, though) these guys are certainly one of the best of those and they actually manage to add to the performance with their vocie clips. Clips are always hit or miss, but the way that these guys add them (in intros and outros) really seems to pepper the oncoming freight train of calculated Italian death metal in a way that comes nearly unparalleled. While there are a lot of bands out there performing this style, you can definitely consider the unbridled rage, tension and technicality (there are even some sections that resemble black metal, so pay attention to that) that comes packed into Blasphemer's sophomore record one of the best examples in this particular style. I'd certainly recommend it.

(11 Tracks, 27:00)

8/10

Dehumanized - Beyond The Mind (2016)

Hailing from New York, Beyond The Mind represents the second offering from this brutal death metal quartet (though it's technically their third album) since they reuinted in '12 with Controlled Elite. The listener can expect a powerfully chunky dose of groove-laden death metal here, which never lets up. These guys don't use voice clips or synthesizers or ambient pieces or electronics. They may reach into breakdowns, but the inhuman bear-growl of Lead vocalist Mike Centrose (Through The Discipline) and drummer/vocalist George Torres (Artery Eruption) are the perfect vocal embodiment for such utterances, and on a breakdown heavy piece like “Drawn By Blood” it even works to remind me a little of Dying Fetus. Now the production value here is a little high and it doesn't sound quite as warm as other death metal discs, but it still manages to deliver up some of what I'd consider to still to be a piping hot and ready New York pie (that's pizza for the rest of us) with your favorite toppings. As long as those topping consist of guts, gravel and grotesquerie – and that crust is filled to the brim with absolutely crushing riff matter courtesy of longtime guitarist Rich Nagasawa. By the way, Nagasawa hasn't forgotten about lovers of weird progressive landscapes, because they certainly do work their way into this chunky mound of dough, cheese and brain matter. Even the artwork for the piece looks sort of metaphysical, and you'd think it was a bit brainier than it is from seeing it at the record store. But that's fine, because it is still quite cognitive. Just not in the vain that you would expect.

Dehumanized aren't about to pull the plug on their brutality here, so if you're worried by this “new age” kind of cover adornment, don't worry. This record is still going to tear you apart, just as the band's previous discs have been known to do. The imminent bass poundings that one will experience from Anthony Cossu serve as the majority of that crust, and this recording allows you the favor of eating the crust first. It's a great atmosphere – an absolute sea of slightly brainy brutality that I don't think I could help but to recommend. There's nothing better than a New York pizza pie, and Beyond The Mind is a fine example of that in a musical form. It's piled on with toppings, piping hot and ready to go – I don't think you can get much better than this. Grab the disc and a pizza while you're at it. I'm pretty sure that by the end of reading this review, you'll want to get a supreme with entrails and all. Just as these guys would've wanted.

(10 Tracks, 40:00)

8/10

Assailant/Ubiquitous Realities - Bringers Of Delusion (2016)

We have here a split between two acts from Costa Rica, the first one being Assailant which is technical thrash metal with Ubiquitous Realities which is technical death metal.

Assailant reminds me a bit of Sepultura fused with latter-era Death and with maybe a hint of Cynic. Most of you are going to hear the Death influences though, which I think are quite apparent and show just how well these guys can play. Not only is guitar work completely abstract, but the drumming seems to line-up perfectly with what can be some rather bizarre compositions at times. Assailant have a vocal end as well, but he's not doing anything that I haven't heard from Chuck Schuldiner before and the band make a better instrumental act. It just depends on how you like your technicality. I can say that I would rather listen to the hard-edge of Assailant over a mainstay like Voivod which just bores me to tears and that's saying something. Yes, I'd rather listen to an act that just started out than one who's been around for decades because I think that the act sounds better than the legend. There, I said it. Crucify me. I had the chance to see Voivod live and walked out. They just were never that interesting to me and these guys seem to capture the essence of technical thrash much better.

Next we have Ubiquitous Realities, which is by and large different from the Assailant. First of all, these guys aren't just technical death metal – they're technical brutal death metal. After a slight movie quote, the record takes off into what can be considered the most extreme realms for the heavy metal genre. The bands that you know for playing this kind of music are those that have surgical procedures as monikers and intense gutturals. Also, I might mention that Ubiquitous Realities aren't a one-trick pony. The songs here actually have depth, and even some solo numbers. Opener “Bringer Of Malevolence” at one point had a sound that made me think the frontman was grinding his teeth, an approach I haven't heard in this genre before, even though it sounded pretty silly. There's definitely a lot of kick-drum here, but the fact that I am hearing a slight bit more than that makes these guys a bit more interesting. Sometimes they dip into breakdown or djent territory, but at least they're thinking out of the box. Especially on the spacey instrumental closer “Alterated Perception II” which I don't think anyone wwill see coming. If you like acts like Fallujah and Animals As Leaders, you'll find something there too, but they're still a BDM band. I promise!

Such an extreme partner on the disc makes for an odd split, I must say – but neither band disappoint and there's something for thrash and BDM fans here that I feel both will be happy with. I tend to like the Assailant part more as I think I've heard several better technical BDM acts like Wormed and 7.H Target, but these guys aren't half bad and at least it isn't the same old shit. I could see myself really getting into these guys after they've gotten a full-length out to show what they can really do. Yes, I'm saying that there's something in Ubiquitous Realities that could be very promising if they stick with it. Definitely give this record a listen, as this is a very strong Costa Rican split that just very well might surprise the living hell out of you.

(8 Tracks, 31:00)

9/10

Pit Of Carnage - The Rise Of The Fallen King (2016)

Danish brutal deathers Pit Of Carnage have returned with their second full-length, just two years after 2014's The Beginning Of The End. The band are made up of just two guys, but GoreDrummer handles the drumming, guitars and vocals relatively well, while Peter Juelsgaard makes himself known in the bass department. He only plays the bass, but his licks are very much a part of the entire performance. Sometimes these guys break the forumal completely for some airy keyboard atmospheres, but I think that's part of the charm. They crush, but leave room for a little more, which is what I like. Even when I take a look at their compositions, I can see that there's quite a bit of technicality and groove as well as melody in some areas that you don't hear quite all the time in this kind of music. We also get some solos from time to time, which you may not ever hear in this genre, depending entirely on the act. There are more bands than I can count that give a stable performance (which almost always include the same song regurgitated in ten different ways) in the BDM genre, but Pit Of Carnage are standing out for doing their own damn thing.

Sometimes it sounds a bit Nu-Metal with the downtuning (which might upset people) and there are even some breakdowns here and there as well as some prog touches, but it's not a record that I feel has an absence of overall riff-matter or inspiration. When I mean “riff-matter” I mean that I can actually hear some riffs on the disc, not just an overload of bass and drums. Pit Of Carnage don't seem to be playing any kind of style beyond that of their own, which is something worth considering if you're looking for a record in this genre that goes out of it's way. It's not exactly perfect, but open-minded fans of technical death metal and brutal death should come together on this one. Just be sure to keep your ears peeled for the odd effect near the end of “Reflection Of Desire.” That's the kind of experimentation I'm all about. No doubt you'll hear several more of these little experiments incorporated in various places on the disc, so you'd better give it a listen if you're tired of bland bands.

(10 Tracks, 28:00)

8/10

Neurogenic - Ouroboric Stagnation (2016)

An international collective between the US, Russia and Italy, these brutal death metallers just released their debut pounder, which hits like a sledgehammer to the chest and just keeps fucking clobbering all the way to it's pulverising culmination. Fans of acts like Dying Fetus, 7.H Target, Cryptopsy, Malignancy and myraids more will find something in this relentless assault, which also includes the guest talent of Brian Forgue (Syphilic, Gutrot) on vocals, as well as Mallika Sudaramurthy (Abnormality) and Danny Nelson (Malignancy) also vomiting up a few syllables on the recording. There's a guitar solo in place by Dave Suzuki (Churchburn) as well as some additional bass by Jeff Hughell of Six Feet Under. No offense to Jeff, but that Graveyard Classics IV record wasn't even worth reviewing and I've never been so insulted in all my life by having to listen to that one. I really hope that Barnes and company will go back to making death metal, instead of copying Debauchery. Bickering aside, the “real death metal” that we're experiencing here is made up of members from acts like Back Door To Asylum, Execration and Cerebral Paralysis as well as Six Feet Under. (Yes, Marco Pitruzzella also handles the drumwork here.) Of course, it's still going to take a while for me to get the bad taste of Halford and Dickinson's tarnished legacy out of my mouth with that recording. The legendary 1% rating on Metal Archives that the record so lovingly deserves (yes, out of two reviews) will hopefully be a sign that things need to change and possibly head into this much more fulfilling direction. You see, the thing about Neurogenic is that Pitruzzella is the fontispiece of the album. His drumming is literally fantastic for the type of atomsphere being conveyed here, with the massive gurgling of Matteo Bazzanella flowing perfectly in the mix. It's a record that has very little differentiation, but doesn't really need it. Listeners know what they're getting, I knew what I was getting and I'm very pleased with the thunderous result. Ouroboric Stagnation feels like death metal. Actual pulse-pounding, head-ripping off your shoulders death metal, the kind that you can identify among ten-thousand other types of musical genres and that's more or less what I like. It doesn't go out of it's way to be something that it isn't, even though there are several spatterings of technical precision in not only the drumming, but in frontman/mastermind Vlad Melnik's guitar playing, so it's not completely barebones. Melnik seems to utilize these odd riff interjections – they almost seem completely off-kilter and might even come across a bit annoying to some people. But to me, it feels like they fit in with the rest of the process. More is heard of the Anton Zhikharev's fiery bass than Melnik's guitar, but the meat of this record still remains in it's kit abuse and vocal utterances. Italy, Russia and the United States all came together to record this album, so perhaps the key to world piece lies ironically within the world of brain-splattering brutal death.

The lyrical matter here is completely focused on gore (and no, that isn't our former vice president, even though I think it would be very fucking odd if a band did a record based on that level of Gore) which goes to show that meat is something we're all made of and perhaps we should all hail the god that the Preacher character Odin Quincannon (As played by Jackie Earl Haley) boldly declares is the only true god in this world. If the god of meat is repsonsible for such an incredible outpour of death metal talent, as well as a unifying effort between nations (two of which have growing tensions with each other as I've been researching) then by all means, give me a large chunk of roast beef and a chicken sandwich. Perhaps both at an Arby's. All joking aside, remember that I receive a lot of brutal death metal albums as you might expect, and some just literally go in one ear and out the other. But because of the killer drumming performance on this recording, I knew that I wanted to focus on Ouroboric Stagnation from the minute I first heard it. Never expected the thing to come in the mail, but when it did, I was more than happy to feature it much earlier than planned. Not all of the submissions I receive will be so heavily praised, but I definitely feel that despite it's short length (it's less than thirty minutes) there's still plenty of potency and punch to get you going on this release. It's like a harsh cup of coffee in the morning, and great for a workout. Speaking of a workout, I know that Pitruzzella ended up getting one hell of one during the composition of this record. Yet it's an effort that proved frutiful, time and time again. Let's all hail the god of meat and thank him for this fantastic performance in gore. May your steaks be always bloody.

(11 Tracks, 25:00)

9/10

Wormed - Krighsu (2016)

Spanish technical BDM maestros Wormed have returned with a new record three years after the release of 2013's devastatingly awesome Exodromos. Though the record is pretty short for a full length, (it's only about thirty-four minutes) it seems to offer everything that Wormed fans have come to expect from the quintet. Aside from new drummer G-Calero (Genotype) we have Guillemoth on bass (Human Mincer) as well as guitarists J Oliver (Unsane Crisis, ex-Hybrid) and Migueloud (Human Mincer, ex-Hybrid) which deliver much of the same technical onslaught as the previous records. Vocals are still handled by Phlegeton (Banished From Inferno, Unsane Crisis, Wrong, Human Mincer) and sound just as ferocious as they've ever been... like a frightening sort of space vaccum.There's seldom a silent moment on the disc and when one is uttered, it is usually in the form of a slight atmospheric piece that never even approaches the two-minute mark. Normally these might come across as a bit of a hurdle for some listeners, because god forbid there's a break in the mayhem; but on a release like this that is quite short and mostly atmospheric (I'll explain that in a second) I don't feel there's any real issue with these two differentiations amongst a disc with eight tracks of blaring, blistering and nearly incoherent but tatically composed death metal.

Wormed are definitely death metal and they've not changed here. There's no clean vocals, clean melodies or any such thing that you might consider vacant of filth here, regardless of the fact that frontman Phlegeton's vocal approach is still quite comparable to that of the Hoover vacuum that I used just last weekend, while giving the dungeon a well-needed clean. (I was afraid that I was going to have to be fighting off creatures in here!) Though as I mentioned, Wormed have an odd way of creating an atmosphere within what can seem like an obscure mixture of BDM and slam. Since these guys utilize quite a bit of technical riffing throughout the disc, it definitely packs more than just a punch as I almost find myself taken completely into these harsh intergalactic landscapes by which the band illustrate. Most consider Wormed one of the very best acts in the brutal death genre and they're a celebrated act by one of our tower colleagues. He absolutely loves these guys, and more than likely considers this record another good offering. But therein lies my issue. As much as I loved Exodromos, that might be because it was the first time I've ever heard this style and really appreciated it there. Krighsu feels like an extension of that record, except with a couple more slam portions which I certainly won't knock – after all, that's what fans of this genre love. It just doesn't feel like anything all that new to me, and doesn't really evolve the style in any way, shape or form. What I'm hearing here is no different than Exodromos, but that's certainly not a problem.

The disc offers a sense of unweilding brutality, savagery, devastation and whatever other words you'd like to use to categorize the material that these insane and intelligent (read: lyrical content) Spaniards are capable of devising. It's a record that can seem far longer than it actually is, which I think is a good thing for the BDM fan that wants to blast it as loud as can be and get what they feel is their money's worth. Just because the listen isn't all that lengthy in the realms of what humans would consider time, doesn't mean that you're being shortchanged for half a record or such nonsense. It's still well worth your time and investment, especially if you really love this kind of metallic approach. As with most of the disc, I sort of zoned out to it aside from a chugging piece by the name of “Zeroth Energy Graviton” which brought in a different feel than the record had prior. I feel that with most of these BDM albums, you can really sort of get absorbed into them where it's not so much about the brutality as it is the abrasive atmosphere and that's what I felt most. There are no guitar solos to speak of nor are there any sparkling leads that appear in the mix. The disc is especially drum heavy, with G-Calero really bringing a storm down on the kit that you're going to feel for a very long time to come. To some, Krighsu might sound like complete and utter noise – a vacuum cleaner doing battle with a passing eighteen-wheeler. To others, it might even sound like a battle to the death. It certainly captures the same feel of acts like Cryptopsy, Artificial Brain and 7.H. Target among others, and brings a bit more brain to the brawn.

Wormed aren't going to win any awards for this and it's certainly nothing unlike they've performed in the past. But fans know and fans will buy. If you're a fan of the above and you still haven't heard these guys, then maybe it's time to go out there and purchase all three discs in order to get the full experience. It's a good thing to see that Wormed decided to stick around after a rather lengthy hiatus to give us more than just one new offering, regardless of the three-year wait in between. Whether you love it or think it's the most unruly racket you've ever heard, Wormed are a true example of the extremely extreme. Very few bands even come close.

(10 Tracks, 34:00)

8/10

Nithing - Fetid Reek Of Interminable Existence (2015)

A solo project from California-based Iniquitous Deeds drummer Matt Kilner, this death and gore and grease and grime and grunt and groan and gurgle is definitely worth your attention, especially if you're a fan of proficient drumming in the vein of 7 H Target. The riffs I find are a bit tough to hear in the mix, especially over the drums, but I have absolutely no problem with great drum work and gurgly growls. From what I can ascertain, there's a slightly technical approach going on here with the riffs, but they still sound a bit distant. It's not a deterrent for me, but it does hamper the experience a bit. If the guitars were turned up just a little more in the mix, I think I'd be able to get more out of the listen. This is just a short sampling of what this guy can do however and perhaps this review will give him some constructive criticism in the mixing department. On the title track for instance, there's a solo that I can't barely make out over the amazingly potent drums and bass licks. I'm looking forward to where this goes, but he'll need to turn up the lead guitar a bit as I can't hear it and I'm blasting my volume right now. I love the drumming and some of the weirdness (that you can also barely hear at times) on display here, but the mixing makes it tough to completely recommend. Give the disc a listen on the band's page and see what you think and if you agree with me that the leads are just a bit too muffled in the back there. Once again, this is only his first outing, so I won't write the project off at such an early stage. He's obviously a talented musician and an absolute demon on the kit, but there's just some trouble in the mix and he'll need to address it a bit more on future outputs.

Note: I have tried listening to this one again in my headphones and have found the guitar sound a bit clearer, it seems to sound quite audible in my right ear. However, some of the leads still feel pushed slightly to the back a bit, and the mix is still rather thick. Nevertheless, the drumming and technical guitar approach is more than enough to sell the album on it's own. I'm upgrading my review by one point, having taken these ideas in consideration. 

(4 Tracks, 11:00)

7/10

Iniquitous Deeds - Incessant Hallucinations (2015)

Rolling in at a little more than a half an hour, we've got another dose of greasy grimy gopher guts coming our way from out of California. Some little place called Walnut Creek. Well, the people of Walnut Creek might be very well to do and prefer putting on the green while sipping from a glass of shanty, but these gentlemen are the kind who will arrive uninvited on that same course with a golf cart full of baseball bats, sledgehammers and brass knuckles, ready to pulverize any incoming meat that interferes with their plans of well... carnage. These guys have no rhyme or reason to their devastation, they just simply play the living hell out of their instruments, most notably featuring a rather prominent drum approach by Matt Kilner (Nithing) who reminds me almost of the majestic and legendary work of 7 H Target. This occurs especially to me at the end of “Merciless Disintegration” which goes out in one of the best ways that I think a song of this nature can. It's great to hear a man behind the kit that sounds like he can actually play and is having a hell of a good time with it too. While that one might only be the opener and additionally the disc's longest song, these guys prove that they don't need long songs to show what they're made of.

On guitars we have Niko Kalajakis, who plays some rather powerful death riffs that we'd expect, yet mixed in with more progressive (Atheist/Cynic) style stuff that we wouldn't. You could even say there's some Demilich, but let's not reach too far over the hills. Vocals are regurgitated by Mike Simon, who is absolutely no stranger to this sound or style by any means. You can expect these massive gurglings to fill the entire album, regardless of what the lyrical matter may be about. But honestly, we don't care. Most listeners will come to Iniquitous Deeds by what they hear at face value, and that's just fine. I strongly doubt that someone is holding their ear up to the speakers in an attempt to identify with what Simon is gurgling about here and would be honestly very surprised if that was the case. If you could even understand so much as “I fucked a chicken” then you're doing a great job, certainly.

All jokes aside, Incessant Hallucinations offers a real beating, beyond what anyone might expect. But shouldn't we expect it? This is brutal death metal after all. If they changed to polka music, people might be a little upset by it. I can imagine hundreds of thousands of listeners all simultaneously shouting “What the fuck is this!?” all at the same time, with a force of energy that could split the Earth in half. But rest assured, you're getting nothing less than an intelligent, yet rather vile approach here and I think you're going to be happy with it. Well, you'd better be. There are far less interesting acts out there than these guys, which is one reason they stick out amongst a sea of others. If you like Brutal Death Metal, you're buying this. Chances are, you already have it and I'm late to the party. But there's nothing wrong with promoting great death metal right? Of course not.

(8 Tracks, 33:00)

9/10