1914/Minenwerfer - Ich Hatt Einen Kamaraden (2016)

This split between California's Minenwerfer and the Ukraine's 1914 is certainly something I wouldn't have expected. Two bands on completely opposite sides of the world making war themed metal, of course in 1914's case, their country has literally become a warzone. So I'd assume that 1914 have actual experience with such a subject by now that it isn't just the product of several WWI books and documentary films. Unfortunately. My thoughts on the war are not very pleasant, but I won't get into them here. In any case, we have two bands that are both worthy of promotion.

The first of course is California's Minenwerfer (Minethrower) and they do produce a style of black metal that I'd describe as raw, dissonant and slightly technical. Though the band mainly use droll tones, there are also some obscure riff compositions that create a sort of slightly progressive sense to the music. They also love to thrash, blast and generally cause a ruckus. It's twenty minutes of extremely dark chaos with some unexpected nods to rock n' roll shredding (Iron Cross) that sound very similar to other acts in the genre. It isn't until “Second Battle Of The Masurian Lakes” that things really start to pick-up for me and I'm suddenly aware of their talent. Considering that members of funeral doomers Lycus are here (Nick Liuzzi plays the guitar in both bands) and Liuzzi's penchance for shredding up a storm during some of these admittedly rather punchy numbers, you're definitely getting everything you could want from a black metal act. It doesn't get much more dark or depressing than this without going into howl territory, and I'm glad that the record never reached that level of stupidity.

The next act we have is of course 1914, who have given us a much different sort of performance this time around. Aside from and intro and an interesting electronic remix, there are only two songs here, “Karpathenschlacht” and “8 × 50 mm. Repetiergewehr M.95.” Yeah, that's a hell of a name for a song and it sounds much more like a loaded weapon – which it is, of course. Fortunately, this one is a good mix of doom, black metal and atmosphere. It tends to stick towards more melodic and somber tones, but this just goes to show the listener that 1914 are more than the basic black metal affair of blasts and tremolo riffs. These unexpected excursions are what will propell the band further into relevance, and by all means; they should be blowing up by now. This is essentially well-crafted work that a great deal of thought was put into, not to mention the soundclips sometimes used in order to create the atmosphere of war. As I said, the electronic remix for “Gas Mask” is interesting and not just something thrown in for filler. Though dubstep is certainly used a bit within the piece, I found it extremely interesting when chiptunes came into play and it began to sound like these gentlemen were soring a classic Nintendo title. I love chiptunes obviously, and the fact that these guys decided to give that a go here is something I found quite inviting,

All in all, both bands have recorded decent efforts on their respective sides and you can't go wrong with a disc like this. I definitely feel that the 1914 side is much stronger than the Minenwerfer, but I would not turn either side away due to just how intriguing they can be in their respective styles. Though the two acts are similar in sound, they are by and large different in style, which you'll notice quite early on. This EP might be hard to come by as far as a physical release is concerned, but you can always pick up a digital copy on Bandcamp.

(8 Tracks, 43:00)

7/10

Deathblow - Demolition Deployment (2016)

With the single from this Utah thrash act, I feel that I'm getting a good mix of Slayer style thrash along with some extra fixins in lieu of structure that even Slayer have yet to offer these days. I'm talking about muscular guitar where it matters, taking what could have been basic thrash plodding into a slightly more listenable and intriguing experience. I especially loved the band's old school Motorhead cover of “Mean Machine” which changed the whole playing style that I heard in the beginning and really worked to show their old-school grit.

When you first hear the opener and title cut, you're immediately going to want to cast these guys off as Slayer knock-offs, and that's definitely a bad move. Both instrumental sections on this song alone seem to deliver and change the whole feel of the piece in a way that I feel paints a much better picture of the kind of thrash band Deathblow want to be. Sure, they're a thrash act. That's not going to change. But like so other few thrash acts out there, these guys want to do a bit more than cookie-cutter thrash and they prove it in the way that classic bands have always done, with memorable riffs and melodies flowing throughout this composition, sometimes so quickly utilized that you'll wind up having to play the track again to understand what I'm talking about. “Implements Of Destruction” is a little more straight-forward and almost feels like a slightly more technical Slayer, but I've always found the more technical and progressive thrash acts to be my cup of tea.

You know, when I first listened to this thing, I didn't think much of it. But now that I'm sitting down with it again, I can see where there might be some real talent, and the kind that you just don't hear in thrash these days. Not even Testament's latest carried such soundscapes within the compositions as these do here. Sure, Testament might be good at writing hard-hitting thrash cuts, but they never wrote such highly spirited and truly dynamic pieces as the one's I'm hearing here. There were never any truly technical or proggy bits to their song structures and that of course is expected. Overkill never did the same either, as it's just not something that people were into at the time. It was about making music sound raw and aggressive, not artistic. I think thrash acts like this were trying to move away from the more technical and progressive epics that bands like Iron Maiden and on occasion Judas Priest, were creating. Sabbath in those days was pretty much a prog rock band without Ozzy, so you can kind of understand why thrash had to be the way that it was. But this is 2017 and thrash doesn't have to sound the same way that it has since 1980. I hope that this is just the start of progressive thrash movement, because in all honesty; I can only count a handful of bands that did anything remotely similar. And when I say that, I mean bands that have progressive elements, rather than just mixing the two together. DAM is a good example. I'd like to see these guys get to that level, and then outright surpass it.

In any case, Demolition Deployment is a short but very sweet single release that I think showcases a possible grand slam in the thrash department. These guys do what so many other thrash bands just don't these days, and that says something. I am going to say that perhaps they need to tone down just a little on the Slayer worship and sort of take it outwards towards their own unique style, but sometimes you just have to accept that it's tough to write new thrash without incorporating the roots of the genre. Like trying to raise a plant without soil.

(3 Tracks, 12:00)

8/10

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

Throne Of Pestilence - Two Singles (2016)

As I was attending a release party show for some Little Rock metalcore act that I hadn't really heard of (there were several other bands though, one of which surprised the hell out of me – Legions Await) I wound up talking with a member from this metal act, which prides itself on being different. Considered tech-death, the only real technical death metal cut that I heard from this act was a piece called “Untitled #1” which was a real bruiser, I can say. Though people's names often escape me, I do know that the gentleman I spoke with is the guitarist of said act and he's definitely got his chops down. I particularly enjoyed the dissonant riffing structures prevalent in “Collapse” even though the piece really felt more like that of a death/groove session with a very hypnotic backbone, than that of a tech-death track. This being said, the man did inform me that he was interested in making each track sound differently than the others, a formula that I certainly stand behind. The drummer here is an absolute beast as he showcases heavily throughout the mix in “Untitled #1” but there are certainly places that could use a bit of growth. These aren't my songs, so I'm not going to make suggestions of that nature, but I will say that there needs to be a little bit more musculature here and I'm sure that this will come in time. “Collapse” actually feels a bit jam session in the latter half, which is where I feel that more needs to be added. Perhaps with vocals it would sound better as well, but unfortunately the band's former vocalist left. The mastermind behind this project is a very inventive individual and he even plans a sort of “alien music” side project, which sounds increasingly interesting to me as well. There's not much here yet, but there will be when the songs are further built and the vocals added. Still, Throne Of Pestilence seem to have quite a bit to offer and they do manage to stand out, like some of the other bands in our local Arkansas scene. Give them a listen and let me know what you think.

(2 Tracks, 7:00)

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

Crator - The Ones Who Create: The Ones Who Destroy (2016)

The debut album from these New York based (currently unsigned, but probably not for long) tech/death/black metallers comes off without a hitch, plunging the listener face-forward into what I could consider to be an extremely violent, albeit creative storm. From the minute you push play, you're automatically greeted by Origin drummer John Longstreth (Unmerciful, Dim Mak) who pretty much pummels the kit more than half the time. But for those who aren't huge Origin fans (and I know that I'm not, even having seen them live) I can say that the addition of Beyond The Arctopus bassist Colin Marston (Byla, Dysrhythmia, Encenathrakh, Gorguts, Withered, Krallice, Indicothere) certainly adds a kickstart to the project and makes it a bit more listenable. We also have Jeff Liefer (Tentacles and a band called Satanic Sega Genesis, which upset me when I found out that it wasn't instrumental death metal covers of Genesis/Mega Drive game soundtracks) who adds the bit of technicality needed to make an act like this a bit more appealing as well.

Take “The Echo That Conquers Voice” for example, which includes a nearly godlike section of melodies which almost come across as something from the furthest reaches of outer space. It's that attention to detail that pulls interest into the act, even though the one-dimensional performance of longtime Origin frontman Jason Keyser isn't going to win any awards in my book. Because the nature of this band is very sporadic and experimental in a sense, Keyser is forced to try new things with his hum-drum style and that I'd consider a plus. Problem is, Keyser seems to want to phone in the same approach on several of these cuts, making for what sounds like a sort of guttural mush with lyrics that I couldn't understand properly if I tried. He nearly gives us the same vocal performance on every song, which is a bit disheartening. There are times when Keyser uses a scream or he is forced to use a slightly different vocal tempo because the structural nature of the song has changed in general, but these are sadly not often. I find myself growing quite tired of the same vocal stylings in death metal, regardless of the fact that they are in retrospect – pretty damn fun to perform. I wouldn't mind making a record with that Cannibal Corpse friendly approach of near-endless gutterals, but I would never market it as the greatest thing I had ever done. It would be just kind of a “for fun” ordeal. In any case, it is far more tolerable than Mike DeSalvo's gutpunch friendly vocals on the earlier released Coma Cluster Void album (Mind Cemeteries) and is quite a breath of fresh air from that.

Musically, I still think that Coma Cluster Void went further into the realms of sheer experimental absurdity, but that's not counting these guys out completely. They've still done a great job with this mix of technical experimentation, hefty brutality and grim black metal nodes. I can't just call that a wash, because it clearly isn't. These gentlemen came together to make a disc that combines all of their efforts into something that really matters and feels like a reflection of their skills as a whole. How could I possibly argue with that? Sure, it might drone on one after awhile in the vocal department, but at least there are pieces on the album in which one is able to collect their thoughts. I certainly enjoyed the title track as well as aforementioned cut “The Echo That Conquers Voice” but found very little to diverge from the formula as a whole. To be fair, this is the debut album from Crator and I'm sure that they will only further evolve and perfect their style with time. If nothing else, I can say that there does seem to be a type of chemistry here, and it will make for a nice holdover until the next Origin disc arrives. Even though personally, I'd much rather have The Ones Who Create: The Ones Who Destroy. Personal preference, as always.

(9 Tracks, 39:00)

7/10

Ad Nauseam - Nihil Quam Vacuitas Ordinatum Est (2015)

Originally known as Death Heaven, these Italian technical death metallers have rebranded themselves with a new moniker and a new style of playing as well. '07's Viral Apocalypse was considered a pure death metal record, whereas this disc is far more artistic. There's nothing wrong with traditional death metal, but this is an album which certainly took a great deal of time to acomplish and the structures within it are nothing short of amazing. It's not even about the heavy sections of the disc, as those really don't seem to sell it for me. Instead, I think I'm getting a more abstract and unique perfomance here, similar to Ephel Duath except a little easier to follow. Andrea and Matteo more or less decorate these songs in the most obscure almost Dali-esque fashion, making this record almost a literal musical interpretation of surrealism. There are certainly burly moments to be found and the drumming can get a little fiery at times, but for the most part you are going to be exposed to the kind of performance that demands multiple listens. There are even sections on this record that I can't even describe in a sane manner, they seem to remind me of horror film scores and have a great deal of what I'd say are cello/violin influence. For some odd reason, the screech of a cello still works to send shivers down my spine and that doesn't change with this album. Gorguts fans will definitely want to get their hands on this, and I'll add that I've certainly enjoyed this record a fair bit more than anything from Gorguts as of late. It feels as if you're swirling through a void at times, which make the experience something of a hallucination.

Towards the latter half of the record, the performance becomes a bit more rough-edged and perhaps doesn't appeal to me as much as the first couple of cuts, but this might be the kind of material that death metal fans were expecting. After all, not everyone wants Picasso or Escher from a death metal act and that I can understand. Personally though, I think that these unexpected references are what makes the music so interesting to me as a whole. I use the term “atmosphere” quite a bit, but that is definitely the feeling I'm getting from this one. Perhaps I can't quite understand the harsh vocal elements, but it's about being immersed inside of this awesome atmosphere that seems to go every which way possible, branching outwards into several different directions all at once as it seeks to nearly transcend the boundaries of death metal. It's nearly avant-garde in some instances, yet stays grounded in the death metal world thanks to the machine-gun drumming and pounding bass riffs. Ad Nauseam still play by the rules, but they have no problem coloring far out of the lines and even creating a completely different picture on the other side of the page. Say what you want, but there just aren't many bands out there quite like this and I'd definitely consider giving a couple of tracks a listen here, so that you can see for yourself just what an awesomely unique act this is. It is true that they wear some of their influences on their sleeves, but even so, it all comes together to make an impressive death metal album. If you haven't hear this one yet, then you probably need to.

(8 Tracks, 55:00)

9/10

Bestial Invasion - Trilogy: Prisoners Of Miserable Fate (2016)

This is the first EP release issued by the Ukranian technical thrash act, which actually comes after a full-length debut earlier last year. Uncommonly, this band did not release an EP before the debut, instead releasing a couple of singles and a split before the full-length. The style of music here seems to reference Iron Maiden's early works, and even frontman V. Zadiev has a little bit of Bruce in him. I'd know that air-raid siren approach from anywhere, and he's nearly got it. That being said, we're definitely still getting thrash here and that's coming on the back of drummer Ivan Semenchuck, with additional bass pounds from Metal Priest. The band features two guitarists (Evgeniy Maestro and Alexandr Klapstrov respectively) who manage to throw in some catchy leads and solos to the mix, even though it is quite obvious that the playing here lends to experimentation. It has some Maiden, but it also seems to take things in a much faster, more technical direction without relying on djent, core or other metal modernisms. I don't mind a little bit of prog and technicality when it works to beef up a record like this to such an astonishing degree. Listeners, you will hear and experience real song structures on this album, complex ones at that – and if the vocal fronted pieces don't work well enough to show it all off, then you have the amazing instrumental cut “Lord Of The Middle Earth” to demonstrate what these guys can really do. Perhaps their English skills aren't so great, but they can play above and beyond that of many other bands in this genre. I'm quite surprised by the sheer level of dedication to craft here and would recommend it to those looking for something a bit more complex that doesn't wander too far off into core or kitchen sink territory.

(4 Tracks, 22:00)

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

Death Design - Drown With Me (2016)

Finlanders Death Design have released their first single, which seems to mix a little bit of melodeath with hefty amounts of deathcore grooves along with a vocal style that isn't quite the greatest, at least for me. I just never got into the shoutier version of death grunt as much as some of the more grueling approaches, and despite the slight bits of technicality, there is little I find promising here about these guys. They might appeal to fans of more hardcore/deathcore acts, but I just don't find it's my thing. I've heard similar approaches for years, on a track that just seems to have gone in one ear and out the other. If there's any other way I can describe it, it would be that it's heavy. I mean, that's the only real thing I can think of. Janne Salminen's vocal approach gets very close to that of the dreaded gut-punch, so I don't think I'll be interested in their future efforts. I think I'll stick with Heaven Shall Burn on this style.

(1 Track, 3:35)

5/10

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

God Enslavement - Consuming The Divine (2016)

Hailing from Germany, the debut album from these death metallers is actually quite solid. Now the death metal that these guys produce isn't the kind that you'd expect from many of the cemetery slabs I've reviewed here on a day to day basis, but rather feels a bit more modern and technical, which might make some of you stop reading this review already and that's fine. But what I think really matters here is Adam Jarvis (Pig Destroyer, Misery Index) on the kit, and the extremely technical riff-matter crafted by either Deha (Black Sin, Clouds, Sources Of I, We All Die Laughing – remember that one?) Bjorn Koppler (Maladie) or Kevin Olasz (Aardvarks, Deadborn, Maladie... the Aardvarks are still relevant? That Conglomerate compilation was great, I thought.) In any case, one of these three men is responsible for such awesomeness and it certainly beefs up what can be rather chunky at times. Vince Matthews (ex-Dying Fetus, ex-Criminal Element, ex-Biovore, all great death acts) sounds like he's on a high fiber diet, as a large amount of grunt and groan mixtures vomit out, while familiar death metal (and this is the only real thing about the band that remains classic) riffing and drum pummeling erupts from the kit. The disc is very fast paced, but it feels almost as if a little more work is needed as Matthews' approach sometimes seems a bit heavy handed. That being noted, the amount of solos utilized on the record stands as a strong point, and keeps the material from becoming entirely bland, which it can do every now and again.

When I listen to an act like this, I feel like they're not completely at their prime with this approach and perhaps it will sound a bit more composed next time. At any case, I couldn't turn it down because the disc is real fucking pummeler and definitely will get you pumped for some heavy lifting. As we can see, there are a lot of great musicians here with a very stable that contains a great deal of potential. I just need to hear a little bit more before I can really call it grandeur. Much as I like this, it's no Dying Fetus, Criminal Element, Pig Destroyer or Aardvarks (yes, I really do like those Aardvarks) and therefore doesn't really stand out as a superior project to any of the acts that these guys have already been in, or are still playing in. That's not to say it's bad, because these guys are more or less just going out there and having a great time playing some really gurgly death metal stuff (but not gurgly enough, if you ask me) that I'm sure fans of their other acts will enjoy. I've just heard a bit better, and feel that much of the problem might even be in Matthews' vocal approach, which seems to weaken the whole performance for me. Give it a listen and see what you think, as it's not all that long and offers just enough for the time allotted.

(11 Tracks, 36:00)

7/10

Peripheral Cortex - Rupture (2016)

Hailing from Germany, these guys decided to move far away from all the hipsters and techno in order to play music that sounds more like Death, Morbid Angel and Necrophagist. Judging from this two-song demo, I can hear exactly that technical death metal mentality and it's good enough that I'm reviewing it here, I can tell you that. Even though they've just formed, there's enough meat here to chew on already with a potent approach to vocals that sounds as if the frontman has swallowed broken glass, as well as lot of tinkering in the guitar department that makes for not only something that kind of sounds like Carcass, but has some very nice solo moments as well as some flashy bits here and there. The record actually contains a rather strong production quality, which helps all the tiny leads to be heard throughout the mix and really makes a difference, as it shows off the band's skills. These guys definitely seem like they want to be the next Necrophagist and they're certainly welcome to it, but I'm going to need to hear more than two songs before I could even think about making that call. Necrophagist were monsters, there's no replacing them. That being said, this is still a very strong performance that technical death metal fans will love, especially if you love any of the aforementioned acts. Definitely worth a listen.

(2 Tracks, (9:00)

8/10

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

The Zenith Passage - Solipsist (2016)

Coming from California and not some covert space colony that lies somewhere within the debris that makes up Saturn's rings, we have the progressive technical death metallers (just called tech-death over on Metal Archives, I guess progressive passages don't count as prog) full-length debut, which comes three years after the release of their EP effort, Cosmic Dissonance. For those of you interested, (and you will be once I start mentioning names) the act most notably features Justin McKinney of The Faceless on guitars. Yes, he delivers too – with every last bit of his might, making this record a bit more rough-edged than the previous Faceless release Autotheism, which many felt was a bit too clean and lighthearted. I'll admit that I dug the man's guitar work on the album however, especially his classic style guitar solos of which we'll also find here. But that's enough about McKinney, there are four other members here responsible for this little trip the light fantastic. On grunts and growls we have Greg Hampton, who also performs in Dog Eats Flesh and Zombie Corpse Autopsy. I don't remember dealing with either of those acts, but I can say that he more often than not hits a familiar cookie monster approach to the vocals that most technical death metal fans won't flail their arms and whine about. Drumming is handled by Luis Martinez, who is also in Oblivion and Feast of which I've never heard either. His drumming certainly brings the meat when needed, yet it is also able to convey more calm atmospheres, which you will certainly hear on this disc. You might want to read that line again, just to clarify: you will also hear calm atmospheres on this disc. The Zenith Passage create some rather heavy moments, but not all of the time and as far as this reviewer is concerned, that's a good thing. There are a lot of similar tech-death acts that already do give us the same pounding death metal frenzy for an entire record, and eventually things can get a bit bland. There wouldn't be anything to offer that I wouldn't have in my collection already. So when one wants to explore new bands (which is why you're here, reading this review) you expect to hear either something different, or something that reminds you heavy of an act that you liked. Lastly, we have Rob Maramonte rounding out the guitar section here in the band, and I'll believe that he's responsible for a lot of the crunch and groove here. You might not Maramonte for his work in Eviscerated and Fallujah, which I actually happen to recall.

As far as the album goes, we have a very textured approach to tech-death which comprises of more than just technical riffs and technical drumming. As I said, there are softer moments to be had here as well as more electronic sections that help to really decorate the record. Aside from that, we also have a level of technicality featured here that brings with it a great deal of diversity. I'm not getting a derivative performance, and sometimes certain sections completely die off in order to be replaced with completely different and unexpected pieces. It can be a bit mind-boggling for some listeners, especially when they're being taxed to listen to a mixture of technical riffs and whirly electronic keyboards, but then the bass pounds out heavy grooves and those are fronted with a menacing vocal style that opens up for a guitar solo. What? Yeah. I know that's a lot to chew on, but you have to understand that Solipsist isn't the kind of record that you can just devour in one day. With airy effects, devastating measures and all sorts of electronic gadgetry, it's safe to say that this near supergroup of musicians just might have crafted something that feels a little bit too rambunctious. Though if we get right down to it, this is nothing compared to an act like Sculptured, which literally confused listeners with their last album Embodiment (2008) so there's really nothing too far off-center, I think. It's just the kind of record that feels more like a test, just to see how things would flow together and how well listeners would accept it. The Zenith Passage definitely didn't get together to play the same old tech-death and even though the number of acts performing this style have gotten wider than is necessary for a thirty-man rumble, I feel that these four accomplished gentlemen have made something that truly stands out among the rest. Now I'm not sure if that's good enough for the heavyweight championship, but it's definitely a spot among the top ten combatants, and that my friends; is a very good thing. Give it a listen and see what you think. I'd certainly say that it is more than just a mere holdover for the next outing from The Faceless.

(10 Tracks, 39:00)

8/10

Vredehammer - Violator (2016)

Though admittedly short, this Norwegian black/death act's second full-length is something that I feel definitely caught me by surprise due to all of it's sheer badassery. These guys cannot only play a ripping blend of black, death, melodic and thrash metal, they also showcase that they have skills where it counts, which sometimes come in the form of absolutely stereoscopic guitar solos. Take the first track, “Light The Fucking Sky” for example. The ungodly melodic solo pieces used there remind me of twinkling stars, or what I like to call “night time solos.” Despite the fact that the piece is additionally ungodly heavy, it also contains such a masterful and rather classy section within that air of night that you just wouldn't expect. Especially when the song that comes right after (Spawn Tyrant) literally threatens to bash your skull in.

Upon looking at the man responsible for most (but not all) of this awesomeness, I see that mastermind Per Valla is also in Allfader, which from what I recall was yet another awesome band. They came out with a record back in 2011 called Black Blood Flux, and that was one of my favorite albums of that particular year. It's Viking metal, but far more entertaining than the bland junk that Amon Amarth have been putting out as of late. It makes perfect sense that Valla would continue that awesomeness in this other act, and it's especially refreshing to see that he his skills are just as sharp as ever. Take the black thrasher that composes this record's title track, and you'll once again see why I have such praise for this man and his body of work.

I do need to reiterate that while Valla can literally write solos that lift you twenty feet up in the air, the band is only strengthened by such a strong arm on the drums (Felix) and hefty bass lines that add more meat and muscle to the performance (Stone.) Stone in particular really gives the kit a pounding, which makes so many of these pieces sound much more furious in the mix. He's the kind of drummer you want in this kind of act, playing as if he's played for decades, despite the fact that he's only been in prog-deathers Canvas Black beforehand. I guess Valla just listened to the guy and knew he would be a perfect fit for the band, and lo and behold he is. Vredehammer still utilize a lot of things that we might expect to hear on one single album, including grim tremolos, bits of progression and technicality (Deadfall) as well as melodic death metal pieces like “Ursus” that remind a lot of the stuff that Amon Amarth used to do, back when they were more concerned about structures instead of commercial viability.

Violator is certainly a finely structured album, and I think that it'll appeal to many different types of metal fans, regardless of what your favorite sub-genre might be. Each one of these seven songs are played beautifully, with no need for extra bonus tracks or B-Sides. Vredehammer literally gave you the very best that they could offer and felt that you'd get exactly what you were after in a mere thirty minutes of playing time. I could justify this as a shortlist record, but I didn't feel that it could wait until tomorrow's shortlist post and had to be brought to your attention today. You know, I think I've listened to this thing about five times already and I can honestly see myself listening to it about five more. It's just the kind of record that I feel delivers on all fronts and is the literal definition of a near-perfect heavy metal album.

I haven't heard much from Valla since Black Blood Flux and didn't even know that this band released a debut (Vinteroffer) back in 2014, but I can honestly say that Violator does what I haven't heard from a lot of bands in the black/death scene lately, and that makes them a cut above the rest. Vredehammer just play metal. Call it black, death, melodic, technical, whatever – it's just really satisfying and I'd recommend it to anyone.

(7 Tracks, 34:00)

9/10

The Burning Dogma - No Shores Of Hope (2016)

Italy's The Burning Dogma have been around for much longer than you may have expected, even though they've just now put out their first formal debut. The band began in 2006, released a live CD in 2010, followed by an EP in 2012 and then this recording of which I'm listening to right now. As with all albums I review, this isn't the first time I've listened to it, and I can still hear now how the whole “doom/death” moniker might need to be changed a great deal from what Metal Archives has for them. That's because ladies and germs, The Burning Dogma are so much more than a mere “doom/death” act. As a matter of fact, these Italians seem to write whatever kind of metal they want to play and care not for genre-constrictions of concerns. Melodic death metal? Check. Technical death metal? Check. Electronic atmosphere? You got it. Groove death? Yep. While the band never really jump into black metal, they still do quite a bit of genre hopping and really don't mind capping the heavy stuff at times for electronic melodies and whirls. Maybe the new branding for these guys could go something like “melodic death metal/electronic” and yeah, that also involves a female vocal approach at times. She's not credited, but she does a great job from what I've heard and will hopefully stay in the band. In any case, the frontman elicits either a throaty growl or a harsh scowl (which is expectable, but I seldom hear anyone trying a different vocal approach for this genre of music) that I feel definitely goes with the death metal aspect of the band, and certainly compliments the female vocals when they're utilized. He also uses a clean vocal sometimes, as we might expect and I've no complaints with either the harsh or clean approaches here. They're both solid and work with the material. But when you listen to No Shores Of Hope, you can't just expect a song to come off ungodly heavy at the start and to be honest, there are only seven real tracks of real metal on this thirteen track release. The rest of these pieces equal out to seven minutes of electronic interludes which some might find a little unnecessary until you find out what kind of band these guys are. Sometimes they'll throw in electronics for a second just because they can, but it certainly does work to an experimental edge. That really depends on the listener though. If you're willing to sit aside your heaviness for a few seconds while these guys play around with spatial atmospheres, then I think you're going to like what they've crafted here.

This being said, let's talk about what I haven't mentioned yet, the riffs and the playing. There are two guitarists in the band and both seem to give it their all. I'm noticing a great deal of memorable riffs and some rather light but noticeable solos. These compositions feel like the product of a great deal of time and effort, so I'm glad that they're finally getting their chance to shine on this release. When combined with the synths and electronic pieces, they seem to stand out rather well too, but these guys seem like they want to pile on the electronics and that might be too much for the death metal listener. These kinds of bands become more cult-natured than anything else and often lead listeners into confusion. We often wonder as to whether or not these guys want to be a death metal style act, or an electronic one and perhaps that will be revealed in time. They certainly have the elements of both and know when to make things menacing, as well as when to make them sound like they came out of a science fiction movie marathon. It will be a very challenging disc for the listener as it's not easily accessible, but perhaps that's a good thing. One of the lyrical topics that the band are accredited with is left wing politics (oddly enough) which I'm not completely hip to, but even being a bit of a red-pill, I'll recommend this disc. That's because I'm not here to judge bands on their political standings, I'm here to judge them on their musical performances. Saying little more, I think that metal listeners have something to look forward to from Italy's The Burning Dogma and I really hope that this won't be the last one they release. It's a strong debut, a little different (and that's okay) but strong nonetheless. There's quite a bit of promise here and I'd most certainly recommend it.

(13 Tracks, 49:00)

8/10

Imperium - Titanomachy (2016)

Formed from members of Trigger The Bloodshed and Cenotaph as well as former members of Boodshot Dawn and Prostitute Disfigurement (that would be the band's new vocalist, Doug Anderson) we have what is the first record from these guys since the Mayans predicted an apocalypse that never came. In any case, fans of Hate Eternal and The Black Dahlia Murder will probably enjoy this sophomore effort quite a bit, but there are just a ton of bands playing in this style and I feel that's one of the main weaknesses here in Titanomachy. A similar style might be fine for some, but I've heard this already and own several albums that sound very much the same. Just in flipping through these cuts a second time, I've noticed that no matter how killer these guitar solos are, they always seem to appear in the same spot for practically every song. That's completely fine too, but it doesn't really give me the listener anything new to chew on. Other than a lot of technicality and some rather engaging solos by the twin-guitar team of Mike Alexander and Rob Purnell, there's not much more to engage yourself with. I will admit that the playing certainly sticks out in the mix, but the base matter of the act just seems like a vehicle for these two to simply shred the hell out of their guitars. They could have just as well done this in any type of band, but it just happens to be this modern death metal act where they've chosen to do so. It's the kind of record where many things seem shoveled in despite their obvious brutality and aside from what I'd consider rather tasteful guitar engagements, I'm just getting a big heavy block of metal. You can definitely pick up this record for the shredding, but the rest of it really doesn't offer that much unless you like run of the mill modern death outputs. It just doesn't have quite enough of a bite for me, but I probably would have dug it years ago, especially if I hadn't listened to many other bands of this style before.

Having said this, I am by know means shoveling waste upon the guitar compositions here. I love my solos and could absolutely recommend the record based on those alone, but that seems to be all that it really offers. Take something like Whitechapel and add tons of solos, tons and tons of solos – and that's what you're getting with this one. Once again, there's nothing wrong with that and I know that some people are really going to dig it, but it's just not quite my bag. Maybe with a couple more listens it could grow on me, but as of right now I'm not getting the best second impression. If you've got to have your technical riffs and more solos than you can fit in a Greyhound bus, then go for it. I just need a little more substance, possibly not so much of the same style or tempo used in practically every song. That leans me to boredom, as not everything should just be ungodly hard and fast. Slow it down a bit gentlemen, you're not going to a fire.

(12 Tracks, 44:00)

7/10

Putrisect/Scorched - Final State Of Existence Split (2016)

We have a two band split here, the first being an eleven minute offering from Maryland's Putrisect. Their side of the of the split offers both an intro and outro, while Scorched just give us an intro and in truth; I'd prefer that neither existed. Removing those, we're left with about nine minutes of grimy death metal, which sounds just like it came from the greats. Creepy leads? Check. Thick bass riffs that make it sound like they're playing from deep inside a crypt? Check. A drum performance that brings the right amount of heat and bravado to the record? Check. But there are also some modernisms here, maybe a little bit of technicality and whatnot to appeal to more modern death metal listeners and that's fine. In all honesty, I could do without some of the little technical whizzings on the record, but it later becomes apparent that they're trying to a make a sort of Swedish influenced tech-death and I guess I can accept that. It certainly comes off entertaining and brings more to the table than similar bands I've come across. At least these guys are trying to take the style in a different direction, and here's to hoping that they'll achieve success with it. At least there's more meat on this rotting corpse than I normally get and I can be thankful for that.

Scorched come from my home state of Delaware (born and raised there for the first sixteen years of my life) and they give us an eight minute performance with a similar style of technical death metal to Putrisect. I'm still getting the sloggy tombstones of the genre's past, but I'm also hearing some really great segues and notions of technicality than I heard with Putrisect. While I don't like the Gojira-influence in the first part of “Lust For Strangulation” the track soon moves past that and gives me a pretty interesting little death metal number. “Visceral Ascension” is even better and shows me a band that I can only recommend based on the sheer level of talent that I've heard here. These guys do classic death metal justice, but they put a spin on it that really seems to make it stand out. Putrisect are very much in the same class, and if this is something new in the scene, I'm all for it. You can dress up old death as much as you like – just make sure that it still sounds like old death!

In any case, my pick on this split would be Scorched, but both bands are highly recommended and I think even the older heads might be a little pleased with what they're hearing these young guys do. Face it, these guys could be grooving out to FFDP or whatever mainstream stuff is out there, but they decided to give those old discs a spin or two and saw where they could add on to that formula. I know, I know, If it's not broke... but there's no harm in attempting something a little different. Give this split a listen.

(8 Tracks, 20:00)

8/10