A MidYear Reflection: Deckard Cain’s Maladies of the Ear

A stooping back, coughed up blood, feet that grate and yet death eludes me. A great evil works beneath the surface, ceaselessly, to guarantee me life, sustaining it. I reckon it is that good for nothing, hellhole dweller, Diablo, once again. While the rest of humanity holds vitality dear to their heart, I deny it with vehemence unparalleled. I seek death in the deepest corners of this planet for in eternal silence I might finally rid of my physical burdens. But for now, senility is a curse, while immortality thrust upon you at senility, remains a bane of unfathomable proportions.

What keeps me alive in this howling doldrum, is companionship. My fellow magi, Jayaprakash Satyamurthy(list) and Mohmmad Kabeer(list), of our Ancient Horadrim Order, have once again unraveled scrolls of a nature, hitherto undiscovered. Their great and exotic findings within made for a sumptuous feast of music. And now I present a scroll, hidden away in a SATCHEL deep in Tristam’s boondocks.

Feel free to judge my character, and maybe piss on it…But in the end i humbly request you to…

STAY AWHILE AND LISTEN…

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IN NO PARTICULAR ORDER

1. Omnium Gatherum – Beyond

Omnium Gatherum has always been hinting at their best, but was never fully realized. They showered us with a massive amount of proof with New World Shadows but then again, after finding their sound in Redshift, personally it seemed like it was deprived of some key ingredient. With “Beyond” the band truly realizes themselves carving out one fine slab of melancholic melodic death metal.

 

2. The Flight of Sleipnir – Saga

Having not heard anything previously from the band this came to as a pleasant surprise, the effect of which only grew with time. Each song draws from the usually complimentary genres such as blackened folk and doom. Although a bit like Agalloch they do put in a few good old stoner doom riffs in there as well. The production and instrumentation are murky enough to keep it raw. A truly sublimely emotive vocal delivery as accompaniment as well.

 

3. Cortez – Phoebus

With knowledge regarding Noise Rock/Hardcore amounting to naught, I never really knew what to expect from Cortez. In due time i was floored by the furious mix of unadulterated hardcore, alternating between spastic and grandiose, making for great emotive segments. And it all lines up pretty nicely with the production, as against a plethora of bands that have been trying for eons to get this mix that these guys seems to have perfected.

 

4. Man the Machetes – Idiokrati

Having liked Kvelertak’s debut and then going on to get slightly disappointed with their sophomore effort, I was looking elsewhere for quenching my thirst for fun filled punk. I never had to look farther than into the very same record label. Man the Machetes take the more punkish hardcore segments found in Kvelertak, add in a more fun “go get it!” spin to it and make a whole album out of it. Fun extreme.

 

5. ASG – Blood Drive

Laid back alternative stoner rock. A better yet crude way of putting it might be to call them a mix of Black Sabbath-esque stoner riffs bathed in Torche’s sense of melody. Coupled with one of the best vocal performances all year and a production that leaves no deep yearning for clarity, gives this great replayability.

 

6. Katalepsy – Autopsychosis

There’s been a rush of brutal death metal this year from the stalwarts Defeated Sanity, Devourment and Wormed. But this little known Russian band steals the cake. Technicality and heaviness squashed down into a more palpable form. Together with some of the finest grooves laid down in the genre, Autopsychosis brings an insane amount of catchiness to the table.

 

7. Crown – Psychurgy

Exploring the aural alternatives of the word “Crushing”. This French duo take the atmosphere heavy, post- sludge to greater heights. There is ample industrial experimentation on work here as well which makes it all the more interesting.

 

8. Deafheaven – Sunbather

Hipsters black metal… as your average ludicrous kvltist might put it. Do not be fooled my friends, for this is truly a piece of beautiful music, extricating black metal from its inherent conservativeness and spreading it with truly ingenious sense of melody. The lyrics are deeply introspective and further accentuates the music at hand.

 

9. Beastwars – Blood Becomes Fire

Law abiding citizens of planet “Obey the Riff”, are  Beastwars. Having been enamored by their debut just the last year, Blood Becomes Fire makes swift escape from the jaws of the sophomore slum abyss. Imagine if High on Fire attempted  a return to being Sleep and maybe added a dash of melody more than usual.

 

10. Caladan Brood – Echoes of Battle

Named after one of the most powerful warriors in the epic fantasy novel series “The Book of Malazan”( which i coincidentally took to reading earlier this year) makes this album and band all the more special. Imagine the Tolkien worshipers in the band Summoning, changing their lyrical influence and accordingly the music as well. Epic folky black metal. Do not look here for an instrumental wank off, rather come here for atmosphere.

 

Other Notable Mentions

1. Benea Reach – Possession

With their innate knack to pen down some of the catchiest riffs with a great ear for melody , they ride far from the madding crowd of djent fanatics. If one can see past their cringe worthy lyricism, then this will go down as one of the better modern metal albums off late.

2. The Fall of Every Second – Amends

Imagine Insomnium being further slowed down and choosing to tread over a more doomier path.

3. Hate – Solarflesh

Clearly a case of the band outdoing and outmaneuvering their influences (Behemoth in this case). Makes for a much better listen than any of Behemoth’s albums.

4. Regarde Les Hommes Tomber – Regarde Les Homme Tomber

Probably the best debut all year. Might as well call it sludgy/post-metal/black metal/doom. There are so many genres at play here, yet it all seem as a single entity.

5. Universe217 – Harm

Some of the best vocal performances in a long time, thoroughly haunting and captivating. The doomy instrumentation fine packages the sublime vocal performance.

6. Moth – Endlessly in Motion

Strapping Young Lad-ish and at times Decapitated-ish. Catchy nonetheless.

7. Scale the Summit – The Migration

Once again a case of top notch instrumental wizardry at par with stellar songwriting.

8. Krownn – Hyborian Age

Conan, gives all hideous monsters a rest, smokes a reefer and tries a hand at composing music. “Hmm… Not that bad… Good infact.. Real Good.”

9. Vuyvr – Heiskalt

The best release from the already impressive Throatruiner records roster. Scathing and unrelenting black metal, unfolding and bathing in its most primeval form.

10. Shade Empire – Omega Arcane

Septic Flesh and Fleshgod Apocalypse have a new rival in the making. Although being their 4th full length, this is a strong release which will establish their relevance in the symphonic death metal milieu.

Lord Dying – Summon the Faithless

Mohammad Kabeer reviews the debut album from Lord Dying titled Summon the Faithless, released via Relapse Records.

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1. In a Frightful State of Gnawed Dismemberment (5:10)
2. Summoning the Faithless (4:43)
3. Greed Is Your Horse (4:41)
4. Descend into External (4:53)
5. Dreams of Mercy (4:58)
6. Perverse Osmosis (4:03)
7. Water Under a Burning Bridge (4:52)
8. What Is Not…Is (6:33)

Relapse Records have played a huge role in supporting the contemporary sludge metal scene. All of the great bands that today’s generation associates sludge with have been a part of this roster. Baroness, Kylesa, Mastodon and of course the band which partly sowed the seeds of this genre, Neurosis, comes to mind. Another band, which has now joined these names, is Lord Dying.

Lord Dying is a four piece from Portland Oregon, and their music can be best described as simple straightforward sludge metal and that’s pretty much it really. These guys take the best from what’s already been done and apply it to a much more simpler, a somewhat more mid tempo format. There are tracks here that do flirt with other genres such as Greed is your Horse, which sounds like a cross between something Portal would do and traditional doom, and Perverse Osmosis, the starting of which is very powerviolence-ish , but  mostly  the band stays directly under the shadow of sludge.

However that being said, they do stay firmly attached to their roots. For this album  has everything a good sludge metal, should  have ,  really dirty heavy guitar riffs, a very detailed yet heavy drum sound,  and  changing dynamics  between  massive guitar chugs and a more overdriven hard rock style, which makes this a fun album. Although not revolutionary by any means, this will definitely stay in my playlist for those times when I want to hear something a bit off kilter than the usual grind routine. I wouldn’t really recommend this to people who are new to sludge but avid sludge fans should definitely lap this up.

Stream the entire album below

Witches Mark – Witching Metal Ritual

Achintya Venkatesh reviews the new album from Witches Mark titled Witching Metal Ritual, released via Heaven and Hell Records.

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Witching Metal Ritual is a rather deceiving album title. Having picked out this album to review upon first glance of the title, quite instinctively, given that I’m a person who bows at the altar of the FWOBM, I was slightly taken aback when I heard the actual sound of the band, and this isn’t necessarily a bad thing at all. Glaring 80’s metal worship is an ordeal that can swing both ways and Witching Metal Ritual, released on Heaven and Hell Records, is a 40 minutes experience of murky heavy metal invoking the various sounds and ultimately amalgamating the plurality that characterised the heavy music of yore. Onto the obligatory band history, Witches Mark is an Austin-based band whose only release prior to this debut is an EP titled A Grim Apparition. These Texans boast a slew of guest appearances which are nothing short of impressive for a debut album, such as Ross Friedman (Manowar), Jason McMaster (Dangerous Toys), Jack Starr (Virgin Steele / Burning Starr), and Martin Debourge (Damian Throne/Head Transfer Process) being among the contributors.

Starting with the opening track, it is rather clear that Witches Mark are not hell-bent on distinguishing themselves in terms of stylistic and genre divisions, and instead embark on a journey to rally legions of old school adherents to stand as one in unison. ‘Bringers of Heavy Metal’ is a fervid story-telling session of sentient beings descending upon earth and reducing all that exists on it into ash and rubble. The guitar work is standard speed-metal fare, with good measures of heaviness, courtesy of the muffled, explosive power chords, and catchy melody, with Robb Bockman’s vocal approach being somewhat reminiscent of a consonant Paul Baloff. ‘Salem’s Fire’ is a track that invokes the likes of Running Wild infused with a thrashier edge with some extremely catch lead work, while the vocals become more sinister and even mischievous in a sense as opposed to the easy route of chanted shouts and shrieks that many bands choose to adopt. ‘Swarm’ is nothing short of a charging and invigorating number with the vocals being the focus here, with Bockman adeptly infusing both a foreboding and anthemic mood. The next track, ‘Slaves to their Own Sin’ sees the band once again chartering the territory of exaggerated ominousness.

Stream the entire album now!

Onto the doomier side of the record, ‘We Die’ presents the band’s melodramatic and impassioned side, with excellent leads that alternate between vigor and melancholy alongside stirring vocals. ‘Cauldron Born’ is a more versatile track (and also among the lengthier ones) in terms of the tempo changes that it presents the listener, with some evocative and infectious guitar work. The title track is an immensely enjoyable listen – something you’ve subconsciously heard before – think a fusion between European power metal with a good dose of Texan griminess, and is also incredibly anthemic. The closing track, ‘Where None Can Follow’ is a bit stagnant at first but gets incredibly catchy after the initial build up. The track is also rather dynamic – the vocal delivery alternate between raspy shrieks and more impassioned, scratchy melodies; while the guitar work alternates between standard speed-metal fare a la tremolo and triplet rhythms atop velocity-driven drum work, which also facilitates a good number of tempo changes in turn effectively enrapturing listeners lest the listener feels any hint of monotony or musical lassitude.

Witches Mark’s genuine and cruddy blend of power, speed, thrash and hints of extreme metal is supported by solid musicianship and song writing skills, with special mention to the latter, given that bands of modernity are far too concerned with showcasing (some would say showing-off, even) their technical dexterity as opposed to creating enjoyable music. Fans of Risk, Iron Angel, Paradox, Running Wild and even Destruction are sure to find something in this excellently executed album. Is Witches Mark yet another addition to the retro-metal movement, and only contributing towards it becoming a full-fledged resurgence? It’s hard to say, but their sound is thoroughly enjoyable, if you aren’t too finicky an enthusiast and can see past the cheesy and grandiloquent posturing of this album which boasts numerous catchy moments, although I must say that these flagrant moments are by no means uncommon across the album, starting with the cover artwork itself!

 

Phil H. Anselmo & The Illegals – Walk through exits only

Mohammad Kabeer reviews the new album from Phil H.Anselmo & The Illegals titled Walk through exits only, released via Housecore Records / Season of Mist.

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TRACKLIST:
01. Music Media Is My Whore
02. Battalion Of Zero
03. Betrayed
04. Usurper Bastard’s Rant
05. Walk Through Exits Only
06. Bedroom Destroyer
07. Bedridden
08. Irrelevant Walls And Computer Screens

Phil Anselmo has always been a part of projects that were completely different  from Pantera, be it  Superjoint  Ritual which was straight up, sludge/hardcore  or Christ Inversion which  features Phil doing  some black metal vocals, and of course  the most  famous of  all these Down, which is just pure southern sludge. On this  album  however Phil tries to revive his glory days.

Philip Anselmo teams up with the Illegals who are Marzi Montazeri(guitars) Bennett Bartley(bass) and Jose Manuel Gonzales (drums).  Their sound  can be simply  described  as a more extreme, gritty form  of Pantera’s  modern  metal ,  the band uses  weird experimentations in the groove metal  genre which  can be seen in the song Battalion of  Zero,  along with  start/stop rhythms and a slight flirtation   with dissonance perfectly exemplified in Betrayed  and also  uses a very weird,  bizarre guitar in the Usurper Bastard’s Rant. Now although all of this sounds interesting on paper, it doesn’t really  work out for me, it has all the elements for a  great album, but where it falls short is the  songwriting. On most of the  album, the parts don’t  really mesh along with each other  and  as such seem like a very  cut/paste kind of a thing,. This is exemplified in the title track  in which  you have a very  fast guitar solo which  then later changes to chugs which just seems very awkward  as the guitar solo is on the melodic side  and the chugs are really hard and heavy, this can  also be said of the last track Irrelevant Walls and Computer Screens which again just seems to ramble on directionless. All seemed  like a collage of different parts from different songs.

It’s a real shame that this album..well at least in my opinion anyway did not turn out to be what it was meant to be,  maybe die hard Pantera fans  will love this one, but it just didn’t do it for me.

P.S.: Nishanth(deckard cain)  said  some cheeky  things to me in my yearly list, well let me tell you that he is a closet Justin Bieber fan  and has all his cd’s underwear’s in fact he has a Justin Bieber Gag as well naughty naughty!

Preludium – Impending Hostility

Achintya Venkatesh reviews the new album from Preludium titled Impending Hostility, released via Transcending Obscurity.

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Humanity’s fascination with war is nothing short of confounding – destructive and degenerating in actuality, but war has somehow wound up as one of the most prominent themes of the creative canvas of various art forms. This fascination is almost macabre, given the cadaverous nature of war, but it also seems to serve as a point of transcendence – the mindless slaughter and carrion that war is riddled also goes hand in hand with the bravado, glory, manhood and noble sacrifice associated with war – in effect, war is nothing short of paradoxical. Luridity and heroism are both romanticized in war, making it an all the more powerful subject. The genre of heavy metal, which has in modernity continued to serve as the bombastic bastion of alternative thinking served with a good dose of rebellion, hasn’t been too far behind as far as the thematic obsession with war is concerned. Bands like the pacifist-driven thrash veterans and extreme metal forefathers Sodom, to the British old school death metal legends Bolt Thrower and even more recent projects like Hail of Bullets have all incorporated war as the backdrop for their music. Preludium is Mielec-based band that continues this legacy in metal – this infatuation with war, a phenomenon that their homeland has been subject to through the ages. One would think upon first inspection of the band that being a blackened death metal seems to be a national cliché of sorts for Polish bands. So, does Preludium distinguish itself from a sea of stylistic clones? Read on.

‘Legacy of Destinations’, the opening track of the album immediately establishes the atmosphere of the album, opening with a pacing drum beat similar to the war beats upon which soldiers march, after which the band soon descends into a frenzied orchestration of mayhem and wreckage. The riff-work here is certainly biased towards more death metal styled tremolo riffs, and one is immediately impressed by the intense precision of drummer Piotr Ungeheuer. ‘Realm of Void’ is an experience comprising of sheer speed and intensity through and through. ‘Desolation’ is a brief and to-the-point track with some excellent usage of groove-driven, engaging harmonic pinches. ‘Hostile Area’ brings to the fore the more blackened quality of their music in comparison to the tracks that precede it with some excellent soloing to boot.  The band seem to have mastered the art of track placement, given that ‘Bitter Cold’ is just the right break from the relentlessness of the rest of the album, with the plodding doom it presents the listener, alongside melancholic leads atop bludgeoning riffs and double-bass work that invoke some sort of bizarrely tight savageness.

‘Blessing of War’ is a solid slab of definitive audile decimation with some passages that are direct nods to the likes of Bolt Thrower and fellow countrymen Vader. ‘Death Campaign’ is in a similar vein with some impressive drum fills and appropriate doses of melody that project the hardships of war to the listener. ‘Execution’ is a bit of a filler track in comparison, but the excellent closing instrumental track ‘Warfare’ saves face after a rather generic preceding track. The track paints a picture of war-ravaged soldiers reliving the drudgeries and horrors that characterizes war in itself. The hints of melody at times remind one of Desultory, but the band’s uniqueness is not lost, courtesy of the heavy grooves and mid-tempo, marching percussive quality of the drums.

The production is crystal clear, and the sound samples chosen are tasteful and only serve to reinforce the atmosphere of war – such as the sounds of blowing wind in the beginning of the album, in effect creating a bleak atmosphere, or the hair-raising, fearsome sounds of explosion. Of course the highlight is the sheer carnage that is portrayed by the instrumentation, from the ferocious guitars to the blast beats, as well as a good measure of tempo changes. The vocals lean on the death metal side of things, although certain tracks certainly show case black-metal oriented shrieks and rasps. In light of the same, the well paced tracks dispel any notions of monotony, that the listener may well feel initially. Łukasz Dziamarski and his soldiers have created a solid slab of blackened death metal with this album that manages to distinguish itself a fair degree from legions of bands in its genre. Kudos to Transcending Obscurity for roping in the band, as well as invigorating the local Indian metal scene by serving as one of the premier extreme metal labels in the nation. The release doesn’t particularly bring anything new to the table in terms of stylistic growth or innovation, but its precision and tightness is nothing short of invigorating.