11.20.2023

RINGWORM

 









"seeing through fire"
Year:  2023
Country:  US
City:  Cleveland, OH
Label:  Nuclear Blast
Format:  CD, LP
Tracks:  11
Time:  36 min.
Genre:  rock
Style:        Hardcore Thrash













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"snakechurch"
Year:  2016
Label:  Relapse
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Hardcore Thrash








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"hammer of thewitch"
Year:  2014
Label:  Relapse
Format:  CD, LP
Tracks:  13
Time:  28 min.
Genre:  rock
Style:        Hardcore Thrash








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11.13.2023

TUUNBAQ

 









"warmest place to hide"
Year:  2023
Country:  Russia
City:  Arkhangelsk
Label:  GATE
Format:  CD
Tracks:  12
Time:  26 min.
Genre:  rock
Style:        Grindcore













The Tuunbaq trio came together in the spring of 2014. Hekata guitarists decided that there were songs that did not fit into the convo of their main group and decided to launch a new project, musically oriented towards Nasum, Retaliation, early Rotten Sound, etc. The vocalist was Andrey Rzhavyi (Trotyl Equivalent Dissonance). The name came up immediately, in 2014. As a result, the three Andreys could not find a drummer and decided to play to a drum machine. In 2017 they recorded a 2-song demo and are planning to release an album in 2018.
Thematically, the entire work (the title and lyrics of the first album) is based on the work of Dan Simmons "Terror".

The long-awaited second release of grindcore band from Arkhangelsk. "Warmest Place To Hide" is a concept album based on John Carpenter's iconic movie "The Thing". Grindcore with sound and HM-2 Death Metal elements. Don't run away! And if you hide, then in the warmest place.
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"graves of ice"
Year:  2020
Label:  GATE
Format:  CD
Tracks:  14
Time:  26 min.
Genre:  rock
Style:        Grindcore








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11.11.2023

LAST DAYS OF HUMANITY

 









"human atrocity"
Year:  1993
Label:  none
Format:  CD, cassette
Tracks:  13
Time:  14 min.
Genre:  rock
Style:        Goregrind















"Human atrocity" is the first demo tape recorded by this dutch band in 1993. Remastered and reissued in 2022 by record label "Meat 5000 Records" on CD format. 
Last Days of Humanity is a Dutch goregrind band that was active from 1989 until 2006, and reformed in 2010. Its music is known for its nonstop sound and relentless blast beats, with regards to drummer Marc Palmen. The band has been recognized as one of the most notable grind acts in the european music scene. Erwin de Wit and Hans Smits often came together in Soos Plock, where they socialised and saw bands like Blood, Agathocles, Dreft and other bands who were into grindcore/noisecore at that time. It also was the heyday of some other underground bands such as Fear of God, Napalm Death, Sore Throat, Anal Cunt, and 7 Minutes of Nausea. These bands inspired them to go and start their own grind/noise band.

Erwin was in a grindcore band called Fatal Error prior to joining Last Days of Humanity. When Erwin organized a gig with Drudge, Agathocles, and some other bands on December 30, 1989, in Plock, he saw the opportunity to add their own noise project to the bill, and Last Days of Humanity was born.
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"the sound of rancid juices sloshing around your coffin"
Year:  1998
Label:  Bones Brigade
Format:  CD, LP
Tracks:  26
Time:  30 min.
Genre:  rock
Style:        Goregrind








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"hymns of indigestible suppuration"
Year:  2000
Label:  Bones Brigade
Format:  CD, LP
Tracks:  23
Time.  30 min.
Genre:  rock
Style:        Goregrind








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"putrefaction in progress"
Year:  2008
Label:  Bones Brigade
Format:  CD, LP
Tracks:  41
Time:  30 min.
Genre:  rock
Style:        Goregrind















Last Days of Humanity were a goregrind band based in the Netherlands, and they were “well-known” for their breakneck speed and technicality in regards to their drummer, as well as their vocalist’s pitch-shifted, “gargling” vocal technique. Now, I say “well-known” because the amount of janitors who clean up strip club bathrooms with toothbrushes probably outnumbers the amount of fans of this band, but the amount of sheer punishment, disgust, and brutality present in this album simply cannot be ignored.

The album’s title, as well as the cover, leads little to the imagination. For the uninitiated, Putrefaction is defined as “the act or process of putrefying; the anaerobic decomposition of organic matter by bacteria and fungi that results in obnoxiously odorous products; rotting.” Well, if decomposing, rotting, fungal corpses somehow started a band, this album is probably what they would sound like. Extremely down-tuned guitars, inaudible bass, rapid trashcan snares, and gargling vocals comprise this album, though the drums and vocals dominate the album. The snare drum is reminiscent of Metallica’s “St. Anger”, and the vocals sound as if the Predator was having sex with an Alien and was eating a chunky peanut butter and jelly sandwich in the middle of climaxing. You couldn’t find a more inhuman sound than if you traveled to Venus and started molesting the creatures there.

The album’s opener, “Covered with Feces as Decoration” is a blueprint for most of the songs on this album: heavy, groove-laden, down-tuned guitar riffs, ear-splitting trashcan blast beats, and gargling, inhuman vocals. Almost all of the songs are under a minute and most of them barely pass the thirty-second mark. With songs ranging from fifty-nine seconds to six seconds, this album had me constantly checking my Winamp to see if that brief pause in the noise was the end of the song or merely a break. Fortunately, to make up for the short song lengths, the band packed this album with 41 songs, making listening to the album feel like running a marathon with a Segway: it feels like cheating, but you don’t really care.The songs do end, mind you. After listening to this album, I didn’t feel like the band was just playing the same song one after another. While it’s hard to discern differences when a majority of the songs are just blast beats and low gurgling, there are subtle differences.

Half of the fun comes from reading the song titles, however. With titles such as “Sewing up the Abdominal Rupture for the Successive Acts of Degradation”, “Disconnected the Cranium with a sense of Peculiar Interest”, and “Precisely Eviscerated and Conserved in a Formaldehyde-Methanol Solution”, one can only read these over the top song titles and laugh. As for the lyrics, there’s not much to say, because I couldn’t find any for any of the songs. I’ve spent roughly thirty minutes scouring the internet for some lyrics to these song titles, and have gotten jack. It’s up to the listener’s imagination to discern what the vocalist is saying, but I guess you can only think up so many lyrics about eviscerating rotting corpses and cannibalizing tortured people before you run out of ideas.

One of the album’s better songs, “A Divine Proclaimation of Finishing the Present Existence” comes at the end of the album, and it stands out not because it runs at over three minutes, but…okay, that’s basically why it stands out. After realizing that the drummer has to maintain his frantic pace for three minutes, I was impressed. I tried doing the same thing using my rock band drums, and I couldn’t get past the two minute mark. Maybe it means I’ve eaten one too many McDonalds double cheeseburgers, but I found the frantic drumming on this song the best out of all of them. If you only want to listen to one song off this album, listen to “A Divine Proclaimation…” and you’ve basically listened to the whole album.

I don’t doubt that many people won’t give this album a listen, most likely because it’s a wall of noise for 20 minutes or however long the album actually is. There’s no melody, no cleanliness, no redeeming values from this album, but I didn’t listen to it expecting that. It’s a goregrind album, through and through, and Last Days of Humanity’s mission was simply to offer punishing, brutal, and disgusting music for the few people interested in it. Just reading the song titles entertained me enough. The “Music” is an added bonus. If you’re a fan of losing your hearing at an early age, or you enjoy listening to the sounds of a trash compactor, give this a listen (* Review by Zipzop5565)

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11.07.2023

VAGRANT

 










"inopia"
Year:  2023
Country:  Spain
City:  Barcelona
Label:  none
Format:  CD, LP
Tracks:  9
Time:  32 min.
Genre:  rock
Style:        Death Metal













VAGRANT is a brutal death metal band from Martorelles (Barcelona) formed in early 1997. Currently, the line-up is composed of Roger (vocals), José (guitar), Pol (drums), Xavi (bass) and Iván (guitar) , who are renowned musicians from the Barcelona extreme scene who are active or have left their mark in bands such as Caustic, Teratoma or Virulentos.

Years and years in the foreground of this band that brings us a quite technical Brutal Death Metal, it seems incredible that their long experience in music, only, at the moment there is only one album left in their history, which did not arrive until 2008, ' Sounds of Perversity'. In 2013 “Spanish Underground Tribute To Brutal Truth” was published, a CD of covers in which Vagrant participates with the insane ‘Godplayer’. A band that participates and sets its sights on one of the anthological bands that saw the birth of Deathgrind, for that reason alone they deserve our respect. And the combo has great mastery when it comes to capturing their bloodthirsty executions.
Vagrant is currently preparing to present the new album that will be released during 2023 and will be titled 'Inopia'. 8 songs with the intensity and brutality that characterize the band, where they present their first preview, 'Craster'.
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11.03.2023

AUTOPSY


















"ashes, organs, blood and crypts"
Year:  2023
Country:  US
City:  Oakland
Label:  Peaceville
Format:  CD, LP
Tracks:  11
Time:  41 min.
Genre:  rock
Style:        Death Metal












Ah, Autopsy – the olde school gore hounds who helped birth not one but two extreme genres. Dead in an excrement-filled ditch after the toilet misadventures of 1995s Shitfun, they rose from the poo-mulch in 2011 with their mammoth Macabre Eternal comeback and they’ve been threatening extreme wiolence ever since. Hot on the heels of 2022’s highly impressive Morbidity Triumphant, the scuzz-boys are back with Ashes, Organs, Blood and Crypts.1 Normally when a band has so little time between releases I’d worry they rushed things, but Autopsy seem to get inspiration in big, bloody blocks and strike while the iron is hot. Does that mean their 9th album is another triumph of caveman death over decorum and good taste? Indeed it does, and yet Ashes is a very different beast than Morbidity. With the same lineup as last time, Ashes finds the band at their most free-spirited and adventurous, taking the classic OSDM style they helped define and playing with expectations, adding bells and whistles to the classic formula. Outside influences new and old pop in and the vibe feels confident and playful. Worry not, this is still Autopsy after all, so many were harmed in the creation of this splatter trash.

There are plenty of classic Autopsy moments here, like the berserk opener “Rabid Funeral” which has all the best meats and cheeses of their influential career pressed into one bloody feetloaf. Their classic punk-thrash gallop provides a lovely foundation for founder/drummer/main maniac Chris Reifert’s “unusual” vocals which only get better with age. Rather than staying one-note, the song takes a hard right turn at the midpoint, slowing things down to a grinding mid-tempo as Chris’ insane vocals are multitracked to approximate a horde of hungry undead. These slower paces give Danny Coralles and Eric Butler space to deliver meandering solo work inspired by horror films. An interestingly expansive take on the classic Autopsy sound. Then they break out the rusty surgical tools for the absolute morgue burner “Throatsaw” which reminds me why I’ve loved these guys for decades. It’s such a deranged ode to all things OSDM with everything as over the top as possible and it’s enormous fun. “No Mortal Left Alive” is equally funtastic with an irresistibly shambling chug groove pushing things off the cliff into a fiery mass grave.

Surprises reveal themselves as the album plays out. “Well of Entrails” sees them revisiting their love of doom, but this is different than the oppressive death-doom crushitude we expect from Autopsy. This is classy, epic doom in the vein of Candlemass and Sorcerer.2 As polished and respectably epic as the riffs are, once Chris shows up, everything gets puked on and those graceful leads lurch into titanic Triptykon-style bending doom leads that will pulp your eggshell skull. It’s quite a wild ride. The title track starts life as stoner doom before slipping into an open grave, and it winds out in such an oddly laid-back way that you’ll feel suspicious and uneasy. Elsewhere, “Marrow Fiend” gets a big injection of early Iron Maiden guitar work, and “Toxic Death Fuk” channels Dead Kennedys as it stomps around angrily. While every track has something fun to offer and I love the restrained experimentation, the album doesn’t hit quite as hard as Morbidity Triumphant did overall. That said, it’s close in quality and the expanded universe of sounds and tempos makes for a more varied listening experience which may give it greater staying power. At a tight 42 minutes, Ashes is a breezy bucket of guts with songs kept short and punchy. The production is good if too clear and the guitars could use increased bite.

More so than any recent Autopsy outing, Ashes feels like a free-for-all for Coralles and Butler. They run amok exploring different styles and moods in the context of foaming-at-the-mouth death metal and their solo work and decorative flourishes are impressive. The band sounds loose and it’s clear they were having fun trying new things. Slayer worship rears its head on “Bones to the Wolves” and Dark Angel-friendly thrash fury is conjured on “Death is the Answer.” They toss in plenty of doom and bits of stoner rock and there’s an increased traditional metal element present too. Chris Reifert is his usual unhinged self and sounds certifiable. He’s a genius at deranged vocals and he makes every song more skull fucking. The whole band sounds extra inspired and spry, like they just came from Countess Bathory’s Day Spa.

It’s great seeing Autopsy find this late-career high gear. They’re the Satan of death metal, releasing some of their best stuff 30 years after their classic era. Ashes, Organs, Blood and Crypts is another very good brick in their mausoleum of madness and loads of disgusting fun. I hope they keep churning out stuff like this until the dead rise to devour the living (*Review by Steel Druhm ).
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"morbidity triumphant"
Year:  2019
Label:  Peaceville
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:        Death Metal








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"tourniquets, hacksaws and graves"
Year:  2014
Label:  Peaceville
Format:  CD, LPP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Death Metal








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"macabre eternal"
Year:  2011
Label:  Peaceville
Format:  CD, LP
Tracks:  12
Time:  60 min.
Genre:  rock
Style:        Death Metal








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"acts of the unspeakable"
Year:  1992
Label:  Peaceville
Format:  CD, LP
Tracks:  18
Time:  40 min.
Genre:  rock
Style:        Death Metal








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"mental funeral"
Year:  1991
Label:  Peaceville
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Death Metal








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"severed survival"
Year:  1989
Label:  Peaceville
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Death Metal








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10.30.2023

TOOL

 









"undertow"
Year:  1993
Label:  BMG
Format:  CD, LP
Tracks:  11
Time:  45 min.
Genre:  rock
Style:         Prog Rock















Tool is an American rock band from Los Angeles. Formed in 1990, the group's line-up includes vocalist Maynard James Keenan, guitarist Adam Jones and drummer Danny Carey. Justin Chancellor has been the band's bassist since 1995, replacing its original bassist Paul D'Amour. Tool has won four Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.

To date, the band has released five studio albums, one EP and one box set. It emerged with a heavy metal sound on their first studio album, Undertow (1993), and became a dominant act in the alternative metal movement with the release of their follow-up album Ænima in 1996. The group's efforts to combine musical experimentation, visual arts, and a message of personal evolution continued with Lateralus (2001) and 10,000 Days (2006), gaining critical acclaim and international commercial success. Its fifth studio album Fear Inoculum was released on August 30, 2019, to widespread critical acclaim. Prior to its release, the band had sold more than 13 million albums in the US alone.

Due to Tool's incorporation of visual arts and very long and complex releases, the band is generally described as a style-transcending act and part of progressive rock, psychedelic rock, and art rock. The relationship between the band and today's music industry is ambivalent, at times marked by censorship, and the band's insistence on privacy.

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"Ænima"
Year:  1995
Label:  Sony
Format:  CD, 2 x LP
Tracks:  15
Time:  65 min.
Genre:  rock
Style:         Prog Rock








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"10,000 Days"
Year:  2006
Label:  Sony
Format:  CD, LP
Tracks:  11
Time:  45 min.
Genre:  rock
Style:         Prog Rock








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"fear inoculum"
Year:  2019
Label:  Sony
Format:  CD, LP
Tracks:  11
Time:  50 min.
Genre:  rock
Style:         Prog Rock








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10.28.2023

HORA ZULU

 









"limpiar, fijar y dar esplendor"
Year:  2021
Country:  Spain
City:  Madrid
Label:  none
Format:  LP
Tracks:  13
Time.  40 min.
Genre:  rock
Style:        Nu Metal












Hora Zulu is an alternative metal band from Granada (Spain). It was formed in 2000, with musicians from bands like Perpetual, SinPerdón or Lakademia. Their musical style is described as a mixture of thrash metal, flamenco and hip-hop1 and as a mixture of alternative metal, rapcore and flamenco.
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"la voz del amo"
Year:  2019
Label:  none
Format:  CD
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Nu Metal








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"creer querer, querer creer"
Year:  2008
Label:  Avispa
Format:  CD
Tracks:  13
Time:  40 min.
Genre:  rock
Style:        Nu Metal








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"crisis de claridad"
Year:  2004
Label:  Universal
Format:  CD
Tracks:  17
Time:  45 min.
Genre:  rock
Style:        Nu Metal








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10.26.2023

MISERY

 









"production thru destruction"
Year:  1990
Country:  US
City:  Minneapolis, MN
Label:  Intellectual Convulsion
Format:  CD, LP
Tracks:  11
Time:  30 min
Genre:  rock
Style:        Crust Punk








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MISERY + SDS
"pain in suffering"
Year:  1991
Label:  Profane Existence
Format:  LP
Tracks:  12
Time:  32 min.
Genre:  rock
Style:        Crust Punk








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