I'm not sure how to even describe this one, which is a challenge I rarely get. Maybe one part Demilich, one part Autopsy, one part Cryptopsy, and one part prog rock? It's dirty, filthy, disgusting death metal but with a clear penchant for experimentation, and not to the detriment of the metal at hand. Off-kilter beats combine with deviously simple riffs. The drummer is doing a lot of the heavy lifting here, and the bass guitarist is no slouch either, widdling away behind the guitars like a madman. Of course, just when I mention deceptively simple riffs, they hit me with the song "Temporarily Beheaded" with its Cryptopsy-eque arrangements. All the songs are definitely quite distinct from one another, that's for goddamn sure, as no two of them are even close to sounding alike. This is truly unique, and no band sounds like this in today's scene whatsoever. This one's for you sick metalists that require something a bit unusual, and this will definitely fit that bill.
Hailing from Russia, this is Dig Me No Grave's fourth full length, and third record for Satanath. They play bulldozing death metal that relies on brute force rather than subtlety, carving through their songs like so many dead carcasses. The production is nice and natural sounding with a mix that doesn't cause ear fatigue. I think the songwriting and riffs here are a little simplistic, but the band makes up for that a little with sheer forward energy. I'm really not a fan of their riffing style at all, it feels a little too wooden. This isn't bad, but it's not anything that catches my attention, either, in a bad way or a good way.
Top notch musicianship. Impeccable playing skills. Gurgled, brutal vocals. Relentless blastbeats. All the hallmarks of a modern brutal death metal album. So why am I so bored? I'll tell you why. It's because I've heard this band a thousand times in other forms since the 2000s. It was novel when Devourment and Disgorge first arrived on the scene, but now we have legions of bands that have built on their legacy without really contributing anything different. I'm hard pressed to tolerate yet another one. It's the same problem I'm having with the glut of so-called old-school death metal bands in the scene right now. I know that genre conventions in our corner of the musical universe are strict, and I'm not advocating for loosening them, because too much experimentation is bad for death metal's sound. But where's the originality, imagination, and diversity in the riffs? Deicide managed to release a whole slew of influential and well-written death metal albums within this confined space, and it's because of the amount of interesting riffs and their songwriting choices that made them unique. I'm sure some brutal death metal fans will just claim I do not "get it." However, I stick to my argument above. Why do I need another one of these bands? I give this a five out of ten because there's absolutely nothing wrong with it, yet there's absolutely nothing special about it.
I am the first to admit that I really don't care for doom death, as the slower tempos bore me stupid. When I saw Thorn was billed as doom death, I wondered if I should even review the record since the chances of me disliking it was so high. I need not have worried. There's plenty of mid-paced and faster material here to keep my interest, at least somewhat. The riffs are big and chunky for the most part, super heavy examples of what death metal riffing can be with a little groove in it. The vocals are especially enjoyable, a huge deep roar that sounds demonic and monstrous, very similar to old Grave. What I don't like is the use of dissonant riffs here and there in certain songs. I've always been turned off by that. I see no point to it. I also found the songs to wander a bit and meander too much for my tastes. Overall, if you want strong mid-paced death metal, this is for you, if you can tolerate a few dissonant riffs.
Well, if you know me, you know I had to review this band when I saw the name! This is Ominous Vomit after all! And you know, I was well-rewarded for seeking them out. Fuckin' A right, I was. I've been waiting for days for something this good to review, and it plopped right into my lap while scouring Bandcamp for review material. This is some seriously aggressive deathgrind that reminds me of the mighty Terrorizer, with fierce thrashing death metal riffs juxtaposed with ferocious grinding passages. The songs are catchy immediately, and they worm their way into your brain right away, rotting your mental pathways with their infectious riffs. The vocals are a grotesque yelled growl that reminds me of Napalm Death a little bit. They're powerful and strong, not content to lay back at at all, instead poisoning your ears with violence! I can't say enough how good this demo is, just go get this motherfucker and let it grind your ass to dust. Bonus: we also get a cover of the mighty Venom, with "Schizo."
This is the second full length from this barbaric band from Turkey. This is proper death metal, reminding me just in passing of Vomitory for some reason I can't pin down, and perhaps a little of Deicide as well. They have a bit of technical flair, with the drums freewheeling behind the guitars that are just shredding nonstop with riffs that really have some inertia. In fact, inertia is a key word here - this band is ever moving forward, never stagnating, always remaining intense and violent, and giving no quarter. Proper death metal, like Diabolizer, never stops being intense and evil, two words which perfectly describe these death-magicians. The vocals are monstrous powerful roars with actual good vocal patterns that key on the rhythms presented, which is my preferred style to listen to, as it lends itself to maintaining that intensity that's so important. This is a fantastic outing, and the band should be proud. I'll be making sure this arrives in my collection.
This is the first and only release from this Romanian death metal band. We get four songs and a musical intro, which I think is ok for a release that's testing the waters. The vocals are quite breathy, almost like some old Beherit vocals, but punctuated with a roar here and there. The vocal patterns could use some work, however, as they're a bit haphazard. Riff-wise, they tend to be a bit repetitive, but other than that they're pretty good. They just go on a bit too long in some songs. Creepy synths are added in a few of the songs, which is a nice touch, because not every band is doing something like that. The synths actually match the feel of the cover art nicely - morbid and obscure! I do like the chunky-ass breakdowns they include in some of the tracks, too. I think this is a satisfactory effort for a first release from a young band, and they're smart to put this up on Bandcamp as Pay What You Want.
This is a half death metal, half goregrind monstrosity from members hailing from Australia and the US. The drums are programmed but done extremely skillfully, and if you didn't know it, you'd be hard-pressed to determine whether they were real or not. The songs alternate between groove and blast, with rather simplistic riffs with a badass guitar tone and a fuzzed out bass sound. This is all fine, except there's not a lot of variation in their songwriting, and the songwriting formula they're using wears its welcome out pretty quickly. The horror movie samples are good and thankfully shorter than on some Mortician releases. In my mind, Mortician is the only band allowed to bore the shit out of me with three minute samples of horror movies. I'm glad this band kept them brief. It's safe to say that unless you really love horror movie metal, you can go ahead and skip this, because it's definitely been done before. But, hey, your mileage may vary.
Ignominia plays solid Satanic death metal with a thick, distorted guitar sound, and top notch riffs. The Spanish vocals give this an even more obscure feel to me, with vocals delivered in a higher growl much like Angelcorpse, but with some serious power behind them. I really like the guitar sound, it cuts like a knife and is just an impenetrable wall of distortion. It reminds me a lot of Deicide's old guitar sound. The band is at their best when they turn out a chunky mid-paced riff that just crushes skulls, like on the beginning of "Perversion." This is by no means a release that completely floored me, and it does drag a bit toward the end of the album due to similar riffs, but it's still worth a listen or two.
6/10 CRUSHED FUCKING SKULLS (10/10 for the vocals)
Murdered is the one-man project of Justin McNeil, playing brutal death metal that for once isn't trying desperately to be Devourment or Disgorge. Sure, elements of these bands are present, but that's because the entire brutal death metal scene is built on their backs. There are plenty of other influences at work here, which is nice, even some nods to the older bands. I dislike the dissonant riffs that are occasionally used, but that's my taste, and I've never been a fan of dissonant guitar riffs. The vocals are the real standout performance here (although all the instruments are very skillfully played). Justin's tones are impeccable and powerful, with a guttural roar that most singers can't muster. It's a death metal vocal clinic. While I didn't enjoy the songs as much, I could listen to his vocals all day, and that truly saves the record for me. A good vocal performance always does, since I am first and foremost a singer guy.
This is an interview with Jim Konya that I did for his bands All That Is Evil and Spawn of Satan, back in 2003. Jim passed away in 2015, and preserving this interview seems like the right thing to do. I looked up to Jim a lot, especially in the earlier days of me being in bands and doing work in the underground. People even compared my attitudes to his at one point, but whether that's correct or not, I can't decide. I always enjoyed hanging out with him at shows - when he wasn't bouncing around the room talking to a hundred different people! Read on for a good interview, and some insight into some of his music.
Andrew Parrish: Hails Jim! How are things in your satanic camp?
Jim Satanic: Hails Andrew! things are as evil as ever. Metal still rules the fuckin world.
When did you decide to begin ALL THAT IS EVIL and SPAWN OF SATAN? Why are these important outlets to you?
ATIE began in early 1997 right after my departure with FTD. I still had some ideas that I wanted to express musically so with the aid of Chris Dora [SOULLESS, ex-RINGWORM -ed.] and Wayne Richards [SOULLESS -ed.], ATIE was born. SPAWN OF SATAN was an entirely different situation. We have been writing and rehearsing in some capacity of what is now known as SPAWN OF SATAN since late 1988. I was never really able to maintain a solid line-up with anyone who was committed to making satanic thrash. I moved out to Kent rejoining the original guitarist who moved out there a few years before I did. We jammed once a week, but I could tell that it was painstaking for this dude and it wasn’t going to last. It was at the very end of the Kent days that I met Wayne Richards, who was an acquaintance of our drummer at the time. When I moved back up here [Cleveland -ed.], Wayne and Chris assisted me in the writing of the material that is on the split cd/lp with BLOODSICK. It was Dora and Richards to rescue again!! Both of these projects are creative outlets for me certainly. Metal has touched my life in such profound ways, that I feel compelled to express myself artistically. These bands, as well as the others that I am involved in, provide these channels for me to do so.
I saw you perform with SPAWN OF SATAN last year at the Revolution in Cleveland when you opened for another band you're in, the mighty NUNSLAUGHTER, which just happens to be my favorite fuckin' band ever! I remember the SOS show as being theatrical, with you using various props, and the stickiest goddamned fake blood! Do you plan on continuing that sort of thing with SOS? Do you do similar things within ATIE?
SOS has only played 3 times in its entire existence. The shows were all at the Revolution and were within a one year period. Each time we perform, I like to go beyond the parameters of the last performance. There was too much blood the last time. The reason that it is so sticky is not because it is fake, but because it is the blood of Christ. To those who graze in the fields of filth, it is sticky and rancor. It is a mess for sure. ATIE is a little different live. I deplore a different set of props and the costumes are of more of an unusual nature. ATIE is more of a seasonal thing. We go for that autumn theme. We usually look to do shows around Halloween. It is the season of the witch. If you dont believe me, just ask DEAD OF NIGHT [hahahah! I get the joke.... -ed.]. I would like to continue to do these things certainly. It really all depends on the input that I am able to get from the other guys who have dreams and goals that go beyond what I am trying to do musically.
I've noticed that a lot of times, especially with ATIE, your lyrics flow like a story. What's your inspiration for doing that? Do you like concept albums due to their story-like nature?
The story thing is a two-edged sword really. I enjoy doing it and I often try to but on the other hand, I see myself falling into that scheme almost every time I write. SOS allows me to not be so fluid with ideas and to not have to tell a complete or organized fable. I have found myself listening to concept albums in the past, but they are not a source of inspiration. My visions are more of collections of short stories, whereas a concept record depends on each song being a facet of one or many occurring themes. There are ways to convey messages or tell tales in your music. I have always relied on the very direct approach where the characters and plot are pretty cut -n - dry. I used to be into a lot of old Hitchcock and Carpenter stuff and thats probably where it came from. And of course there is KING DIAMOND. Thats all that needs to be said about him.
You use some different names in your projects - such as Malcolm Anthony, Jim Sadist, and Jim Satanic. I take it that you like to fit your name to fit the persona that you feel is necessary for that band?
Guess what? You're exactly right on that. Some people have told me that they feel that it may detract from one's recognition of what we have offered the world because there just isnt one set moniker or name being used by myself. But, as you already put it, I like for the persona to coincide with the music or the bands image. Certain looks or vocal angles do not match up with a certain groups sound or vein of music. I am a huge proponent of diversity and I feel that having several outlets rather just one or 2 best exemplifies that.
What's in your CD player, tape deck, or - and this is the one I prefer - record player?
Lately, it has been good old Black Sabbath. I am also really into the Chicago based outfit known as AVERNUS as of late. Their 2nd record features the vocal talents of Cleveland's own Rhiannon who was in SOMNUS. Its great stuff. I listen to a lot of classic rock and 70's easy listening. I am trying to catch up with all of those great classics that were the soundtrack to my childhood. 70's and 80's all the way!!!
Tell me about the label, Hell's Headbangers, who are releasing a lot of the material you're involved in right now. You have the SOS / BLOODSICK split CD, the NUNSLAUGHTER / CENTINEX split 7", and vinyl version of the SOS CD, as well as a NUNSLAUGHTER / SOS split coming out?
HHB is a new and aspiring record label and distribution service. They are very young and have a surprisingly good ear for metal music [I'll say - those guys have a killer selection of cult items. -ed]. They are based out of Medina, Ohio and are SOS' record label for the most part. I run a makeshift label myself called Metal Enterprise, but it is nothing official. We are collaborating on the lp version of the SOS/BLOODSICK split that will be out in June 2003. The guys at HHB had seen SOS play a few times and liked the advance of the split so they were interested in doing the release. It is also their first actual release so it really wasn’t a big gamble for them. The NS/CENTINEX is out and I am pleased with the the end result. There will NOT be a SOS / NS split release. They will now be 2 separate records. Neither band could agree on terms, so it will not exist after all. This SOS release will be late 2003 or early 2004.
How does it feel to know you're well-regarded in the underground? Every old-school maniac I know digs most of the stuff you write and play.
Well, honestly I really had no idea. If this is true, then I say "Thank You". I really appreciate it. It really makes it all worth doing and I thank all of those people whoever they may be for their support and acknowledgements. The old schoolers are true demons and they love and know their metal. If they have taken notice, then maybe we're doing something right.
What bands do you dig the most in the Northeast Ohio scene right now (hardcore bands included, since I know you're involved in that scene as well)?
I love SOULLESS obviously because they are the best band in the land. RINGWORM is fuckin' great too. I was into DEAD OF NIGHT when they were raging. HOLY GHOST was pretty cool too. I have lost touch lately, so I don't really have an answer. Cleveland has had some of the best bands ever. Most of them are defunct now but I will never forget them. Some words to the wise: check out as many local bands as possible. You never know when they will cease to be. Living in Cleveland, I would have to say that I have been fortunate enough to see some of the best.
Tell me something about the hardcore bands you're in. I know you're in 9 SHOCKS TERROR and SCARVER'S CALLING and SCHNAUZER. By the way, thanks again for the SCARVER'S CALLING 7", excellent stuff! It has a sense of humor about it, and I like that. Killer blood-red vinyl, too!
You Are Welcome!! Thanks for the feedback on the 7". I am involved in several other bands that you have so kindly mentioned. NINE SHOCKS TERROR is a crusty fast loud band that i am playing drums for. My old longtime pal Tony Erba started this band about 7 years ago. They have quite a following and a nice discography under their belt and it has been a real pleasurable experience playing drums for them. SCARVERS CALLING is just a side project that we want to release records and play an occasional show with. SCHNAUZER is a horrible display of musical incompetence and complete nonsense. Anyone who has purchased a SCHNAUZER product and is dissatisfied can kindly write to the address below for a complete refund. Thanks.
My absolute favorite SOS song is "The Everlasting Terror." Tell me a little about that one.
Thank you again for the compliment!! I am glad that you like that one. It really has a lot to deal with a sense of eternal despair when one is confronted with the temptations of Satan. Inside of that, the song deals with a preachers plight with what he once thought to be an impossible outcome of his mortal life and salvation. The rest is up to the listener. SOS has a lot of open-ended songs that you can kind of create your own ending and develop your own interpretation.
Now, let me take you back in time a little, back to FROM THE DEPTHS. I've had the self-titled CD that was put out on Dismal since it was out, and I still think it's the highlight of the band's career. The stuff they did afterward was too melodic for me. The self-titled disc was more primal, more evil. Plus, it thrashes! Tell me a little about your time in FTD. "Curse of the Scarecrow" rules!
Ah, the demons of my past, hahahaha. Again, I am impressed with your knowledge of our work. I am very touched by that. Thanks. The year was 1995 and I was out at Kent when Matt Sorg approached me about doing some vocals for a band that he was working with. I went out there and started rehearsing with them which led to the first 2 recordings that became the debut lp. This was the first time that I ever just sang for a band so I was excited. I put my little spin on songs that they had written and Duane from Dismal Records [and now NUNSLAUGHTER -ed.] released it in summer of 1996. There was some differing opinions as to how lyrics and ideas were being laid down and eventually that same obstacle rolled over into musical ideals and the band's overall mindset. I was fired as their lead singer in January of 1997. I was upset and felt that there was still some metal left to be played in that chapter of FTD. They went on, as you mentioned, to release 2 more records. I love Bereavement but felt that Elysium lacked in production. I really appreciate what you said about the stuff that I was involved with. It means a lot to me. I think that its cool in a way that people have 2 separate entities of FTD to listen to. There's something for everyone that way.
Dude, how do you balance all the stuff that you do? Do you think you'll ever burn out?
The metal flame burns in me like a ball of hellfire. I have really enjoyed releasing music and have even enjoyed listening to the music of others more than playing my own. Most of the bands are just projects that stop and start up for a few weeks at a time. They may have a record out, but are in no shape to play out. I am not as busy as it appears at times. Maybe I am minimizing it all because of how long I have been doing this. I don't see any burn out coming but then again I am no psychic. From the Womb to the Tomb: Its Death Metal....
Can you tell me any titles of any new SOS material, if there is any? Leak it to the press!
I am glad that you asked this one because I havent been thinking about what some of them are going to be lately. The ones that will appear on our one-sided 12" pic disc are: 1. Sempiternal Doom 2. Fatal Blessing 3. Deliverance These are old songs from the late 80's being played by the current line-up. Some of the new titles to appear on the full-length are: The Devil's Ransom, Witchcraft, Circle of Seven, The Master, Darkest Domain and Ritual Murder - just to name a few.
Ok man, that's all I have right now. End this interrogation any way you want to!
Andrew - I want to thank you for this cool interview and for your awesome support of our musical efforts. I also want extend gratitude to anyone who has taken the time to listen to any of our projects or attend any of our performances. Thank you all very much. Andrew, I will see you again at a dark metal show.... Metal rules!
Black Hole Deity play wickedly technical death metal that doesn't lose its roots amid all the fancy playing. The riffs may take a few listens to sink in, but sink in they do, and with a vengeance. Their technical playing adds so much intensity to their sound since so much of it is done at light fuckin' speed. I can hear some Nile influence in their sound, but just enough that it doesn't ruin their originality, and is simply a case of wearing their influences on their sleeves. The vocals are strong yet understated, delivered primarily in a mid-range growl. The riffing is mighty, with totally unpredictable passages that take the listener by surprise, but do not descend into tech-wankery or overcomplicated bullshit jammin'. They're perfect for what this band is trying to accomplish. An acoustic interlude with a guitar solo appears in the middle of the record, and is a nice change of pace to get us set for the second half of the record. I love when bands do this - I was always a fan of Broken Hope's interludes for the same reason. Anyhow, tech death freaks should check this, as should anyone into fiercely musical death metal. It's a monument to death.
We have here some morbid and obscure death metal that reminds me a little of the Swedish sound, but without the chainsaw guitar distortion. The vocals are cavernous, which is a quite popular thing to do at the moment, and the words are unintelligible. Which is ok - they don't have to be. This is wonderfully underproduced and a bit raw, with a bit of mud in the production, which I really like. There are a handful of good riffs on this record, some that zig when I thought they were going to zag. That's an unexpected treat. The problem, though, is a lot of these songs just blend together, with very little to distinguish them from one another. The same guitar techniques are used in most of the songs, leading to similar riffs. I think it's the constant tremolo picking that's at the heart of the issue. Overall, this is just ok stuff, and we've heard it all before.
This is the third full length from these Polish deathmongers. They play dark death metal with a tinge of blackness and a cornucopia of blastbeats. The lyrics are like occult rites put to music, pure devil worship, and they appear rather sincere! The songs are a bit longer than I usually like, but their compositions are dynamic enough for the music to withstand it without being boring. There are plenty of changes and riffs in these songs that prevent boredom on the part of the listener. This is intense stuff, blasting along at ripping speeds most of the time, with the singer raving over top of it all like a demonic high priest. This is by no means something we've never heard before, but it's an enjoyable listen, and worth tracking down.
Pyre hails from Russia, and this is their third full length, the first for the venerable Osmose. Their sound is sort of like a mix of Grave and Asphyx, with the barreling riffs of Grave and the vocals and sludginess of Asphyx at the forefront of their sound. Lest you think they're purely derivative, they have tricks of their own, like excellent guitar solos and well-developed vocal patterns. The production is warm and easy on the ears, and ear fatigue from this release is not a problem. My only issue with this record is that the songs themselves aren't terribly memorable. There's just not much here to vary things song to song, and the riffs aren't that imaginative. It's definitely not intense - it's quite laid back, actually. Your mileage may vary of course, and the musicianship is just fine, this just isn't something that tripped my metalist trigger is all.
