ALBUM REVIEW: Extremity, "Coffin Birth"

By: Daniel Jackson

Album Type: Full Length

Date Released: 20/07/2018

Label: 20 Buck Spin

To put out an album that stands out in what feels like a tidal wave of high quality releases is no small achievement, and the band should feel immense pride in what they’ve created here. This is mandatory listening.

‘Coffin Birth’ CD//LP//CS//DD track listing:

1. Coffin Birth / A Million Witches

2. Where Evil Dwells

3. Grave Mistake

4. Umbilicus

5. For Want of a Nail

6. Occision

7. Like Father like Son

8. Misbegotten / Coffin Death

The Review:

As seems to happen every so often, we’re in the midst of a gigantic death metal resurgence. Top notch albums are coming out from across the globe and the songwritings as good as it’s ever been. The added benefit this time around is that it isn’t all from one particular sub-style. In the past we’ve seen resurgences in early Incantation worship, Stockholm sweddeath, and others beyond. This time around, it just seems as though death metal as a whole is experiencing an uptick, with a number of bands putting it all together at the same time, across a range of styles.

In a way, Extremity embodies the entirety of death metal’s 2018 rebirth. The sonically massive recording, the inclusion of a wide range of influences, but all under death metal’s larger umbrella. As the album goes along, the songs invoke something familiar, but never outright worshipping a specific band. You’ll hear something that would feel at home on a Bolt Throweralbum, or something that would feel at home on a Carnage or Unleashed album, and even early Deathrears its head in some of the harmonized guitar leads. On ‘Coffin Birth’, Extremity takes all of these different sounds, and brings them together into a single, cohesive whole, and it fucking rules.

Each song on ‘Coffin Birth’ feels like a journey, rather than a compilation of great riffs. The band rarely ever dwell on the same idea for long, and each new place a song end up keeps the song interesting. Just looking at “For Want of a Nail” as an example: the song opens up with a lurching, climbing double kick section, before the tempo kicks up somewhat as twisting, limber riffs keep up with Aesop Dekker’s thrashy beat. After that, the song launches into an utterly crushing breakdown, in which Aesop Dekker’s masterful sense of groove and feel take center stage, the moment made all the more powerful by a breakdown riff that’s up there with “Master Butcher’s Apron” off of Carcass’ ‘Surgical Steel’, meaning it’s among the best of this decade. That’s not to mention the fantastic solo work that immediately follows, though I’m not certain which guitarist to credit Marissa Martinez-Hoadley or Shelby Lermo for it.

There’s so much going on in each and every song, and none of it ever feels forced, nor do the transitions ever feel unnatural. Each song is an ever-mutating creature unto itself and yet unified as one greater whole. ‘Coffin Birth’ is the work of musicians who’re at the height of their creative powers, standing out and claiming their own piece of an exceptional time in death metal history. To put out an album that stands out in what feels like a tidal wave of high quality releases is no small achievement, and the band should feel immense pride in what they’ve created here. This is mandatory listening.

‘Coffin Birth’ is available digitally on CD, LP, or Cassette here.

Band info: Facebook

ALBUM REVIEW: Apocrophex, “Æternalis”

By: Richard Maw

Album Type: Full Length

Date Released: 18/05/2018

Label: Independent

The best kept secret in technical death metal? Maybe not for much longer- such is the dark and malevolent atmosphere of this album, I am confident that Apocrophex will be mentioned in the same breath as the big players of the genre.  This record is a must have

“Æternalis” CD//DD track listing:

1). Where Temples Are Older Than Trees

2). Implanted Genesis

3). Thwarting Dogma

4). The Oracle Room

5). Sovereign Symbol

6). Pareidolia

7). A Sentient Edifice

8). Neglected Megalith

The Review:

Apocrophex are a two man tech death tour de force from New Jersey. Their last record, “Suspended From The Cosmic Altar”, really impressed me back in 2015, so when the new album popped up in my inbox, I couldn't wait to hear it and get into the band's latest musical vision.

Sure enough, the band is on top form here. This is tech death of the most death metal variety. The lowest of growl vocals, serpentine riffage and labyrinthine song structures are the order of the day here. The vocals are mixed quite far back but at the right level to compliment the songs. Justin Buell does a phenomenal job on all instruments, while the vocals of Pete Colluci are integral to how the album plays out.

A special mention must be made here for Kevin Paradis who is playing here as a session drummer. His incredible work is a vast improvement over the programmed drums of “SFTCA” and really gives the record a huge boost- what a performance as well, almost inhuman. The atmosphere here is darker and more sinister than the debut and Buell works hard to make sure the bass and guitars have their own personality rather than just everything doubling everything else.

For anyone with an interest in tech death, this record is a must have. It is very brutal, very complex, very heavy and very technical. As is often the case, picking stand out songs on a tech death album is not easy, so instead I can reliably inform you that everything from “Where Temples Are Older Than Trees” to “Neglected Megalith” represents the very apex of the sub-genre. For this album to have come from the vision of a two piece band is quite an achievement.

I have no idea if Apocrophexhave any inkling to get a full time drummer and hit the road, or if they are happy creating their sonic landscapes in the studio. Listened to in full, the album is exhausting and breathtaking in all the best ways so either option is surely there for them.

The best kept secret in technical death metal? Maybe not for much longer- such is the dark and malevolent atmosphere of this album, I am confident that Apocrophexwill be mentioned in the same breath as the big players of the genre- they demonstrate just how far things have come from the days of Atheist, Cynic and Death whilst maintaining  a solid link to those classic bands by way of pushing the boundaries and the physical possibilities of what can be played.

“Æternalis” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Revel In Flesh, "Relics Of The Deathkult"

By: Richard Maw

Album Type: Compilation

Date Released: 16/03/2018

Label: War Anthem Records

 Revel In Flesh are amongst the best operating in the death metal sphere, so if Entrails and Paganizer made you bang your head last year then don't hesitate to purchase this compilation- it is exactly as you want it to be.

“Relics of The Deathkult” CD//DD track listing:

1. Bonecrusher
2. Corpus Vermis
3. Chant Of Misery
4. Deathkult
5. Phlebotomy - Blood Dripping Healing
6. Nightrealm Ghouls - The Dead Will Walk The Earth
7. The Ending In Fire
8. Casket Ride
9. Pay To Die (Master - Cover)
10. Mutilation (Death - Cover)
11. Deny The Light (Headhunter D.C. - Cover)

The Review:

Germany's Revel In Flesh are not a band to wait around very long between releases. Coming off the back of their last full length (not even a year ago on Cyclone Empire!) comes this ten track compilation charting the band's progression from their earliest days up to the here and now- which actually does not cover as much time as you might think.

From the opening “Corpus Vermis” to the closing three covers (Master, Death and Headhunter D.C.) this is a feast of deathly delight. As noted in my last RIFreview, the band plays straight ahead death metal of the old school variety- Dismember, Entombed, Asphyx and so on. As such, if you enjoy that genre and style, you will enjoy this. There are plenty of riffs and thrashing sections (“Deathkult”), good production throughout- even if “Pay To Die” by Master is a little lo-fi by comparison and lots of spooky intros that conjure up a firmly old school vibe. I particularly enjoy the angular riffage of “Casket Ride” and the death doom flavour of “The Ending Fire”, but other listeners will have their own favourites here.

Aficionados of the Euro-death genre need look no further- Revel In Fleshare amongst the best operating in their sphere, so if Entrailsand Paganizer made you bang your head last year then don't hesitate to purchase this compilation- it is exactly as you want it to be.

 “Relics of the Deathkult” is available here

Band info: facebook

ALBUM REVIEW: In Human Form - "Opening of the Eye by Death of the I"

By Brandon Green

Album Type: Full Length

Date Released: 23/06/2017

Label: I, Voidhanger Records

The complexity of the songwriting on all of the tracks leaves the listener discovering many layers over multiple listens. This band has some serious talent, and absolutely deserves your time. A massively unique release weaving together so many influences it’s difficult to quantify them all.  This is excellent music, and I can’t wait for future releases from this band.

“Opening of the Eye by Death of the I” CD//DD track listing:

1). Le délire des negations

2). All Is Occulted by Swathes of Ego

3). Apollyon Synopsis

4). Zenith Thesis, Abbadon Hypothesis

5). Ghosts Alike

6). Through an Obstructionist's Eye

The Review:

After their first full length album in 2013, “Earthen Urn”, which was independently released, it was clear the New England outfit had an extremely unique and captivating direction for their black metal sound. Taking a more progressive approach with massively complex-yet-catchy song structures, In Human Form have mastered their craft and continue to surprise. Fast forward to 2017, In Human Form has outdone themselves with an absolutely fantastic release packed full with aggression, prog, and jazz-fueled black metal. The new album, “Opening of the Eye by the Death of the I”, is every bit as raw, introspective, and evil sounding as some of my favorite black metal records. I’ve personally lost count to how many times I’ve listened to this release.

6 tracks in length, the album is mostly constructed with three longer (~15 min) epic tracks with instrumental compositions in between. Overall, the album flows amazingly well given the extremely complicated song structures. The record has many introspective as well as meditative moments among the scorching black metal sections, and the vocal performance on these songs are impressive with Patrick Dupras’ throaty black metal screams and carefully written lyrics/patterns about mortality and mysticism. Nick Clarke’sguitar work is masterfully crafted with an amazing balance of progressive and jazz tinged compositions among the beastly black metal sections. The drum work, although frequently mid-paced, is mind-numbingly complicated and tight throughout, and the bass riffs are carefully constructed to pop and compliment everything in chaotic harmony. The nonlinear approach is highly welcomed on this release, and frankly blows my mind how In Human Form crafts their music and keeps the music paced extremely well. My favorite song is “Through an Obstructionist’s Eye”, which is the album closer.  The opening riff is massively catchy, and the song goes in so many amazing and unthinkable directions a black metal band would typically care to venture.

I’ve had the pleasure of catching In Human Form live a few times where they performed many of the tracks from the new record, and these songs are played with every bit of mastery as they were recorded. The complexity of the songwriting on all of the tracks leaves the listener discovering many layers over multiple listens. This band has some serious talent, and absolutely deserves your time. A massively unique release weaving together so many influences it’s difficult to quantify them all.  This is excellent music, and I can’t wait for future releases from this band.

“Opening of the Eye by the Death of the I” drops on June 23, 2017 on I, Voidhanger Records and is available here

FFO: Ihsahn, Enslaved, Ephel Duath, Death, Frank Zappa

Band info: bandcamp || facebook

ALBUM PREMIERE: Toronto's Deity deliver chaotic, aggressive and masterful self titled debut album

The Cambridge English Dictionary defines Deity as ‘Godhead; the Supreme Being; a fabulous god or goddess; a divinity.’  That definition needs to be amended to include DEITY the band; who melds old-school metal through a thoroughly unique intense influence of their own into music that is godlike and divine! 
 

Inspired by Suffocation, Emperor, Death, Slayer and Immortaland describing their music as ‘relentless, powerful, intriguing, honest and revitalizing’, DEITY has produced a truly special album, combining the fantastic progressive instrumentals of Metallica and Iced Earth with crushing metal anthems.
 

With the completion of DEITY's self-titled album, the extreme duo, Danny and John are looking forward to taking their sound to live stages in Toronto, Montreal and more in both those cities provinces and beyond. Watch this pair, because DEITY are a band that deserve to break out of the studio into the live arena! Guitarist/vocalist Danny Alessandro had the following to say about the album

“This album has been a long time in the making and we are very proud of what we've created. From start to finish we want to take the listener on a journey of different emotions and feeling. As fans of metal we wanted to create something the listener could play over several times without losing interest. Something with a timeless feeling, and we feel like we've achieved this. Chaotic, aggressive and melodic are the best words to describe this self titled release.  We hope the metal community digs the album cheers!!!”

With the album set to hit the streets on Friday 2^nd June, you can check out the album in all its brutal splendour below.  For more info about this release as it becomes available, like and follow DEITY via facebook below.

Band info: Facebook || Instagram

RIFF REWIND (19/5/2014): Serpentine Path - "Emanations"

Serpentine Path circa 2014

“Emanations” was the sophomore album from NYC doom super group SERPENTINE PATH.  The band’s 2012 self-titled debut was a boldly grim statement of unforgiving misanthropy that referenced both the filthy riffs of Autopsy and the stoney doom of Sleep.  Now officially augmented by second guitarist Stephen Flam, the mastermind behind NYC doom/death legends Winter, SERPENTINE PATH were truly a heavy metal all-star team (the band also features current and former members of doom legends Electric Wizard, Unearthly Trance and Ramesses).  Sure, the pedigree is undeniable, but regardless of their ‘members of’ status, SERPENTINE PATH were one of the heaviest bands on the planet.  Although there is no word on the current status of the band, Unearthly Trancereformed and Tim Bagshaw formed With The Dead with former Cathedral front man Lee Dorian.  SERPENTINE PATH released a previously unreleased song called “Venom” on August 26, 2015 which is available via their bandcamp page, but today our focus is on their sophomore release “Emanations” as we rewind the riffs 3 years ago to the day and look back at this masterpiece of doom which was reviewed by Richard Maw on 19/5/2014.

By: Richard Maw

Album Type: Full Length

Date Release: 23/5/2014

Label: Relapse Records

It is with a great pleasure that I can say Serpentine Path have returned and consolidated the reputation built on the first album. This is an example of the genre done right- the essence of metal is here with all the horror and darkness you could wish for. Gripping and repulsive all at the same time.

“Emanations” CD//DD//LP tracklisting :

1). Essence of Heresy (03:48)

2). House of Worship (04:17)

3). Treacherous Waters (07:46)

4). Claws (07:31)

5). Disfigured Colossus (05:59)

6). Systematic Extinction (07:15)

7). Torment (08:25)

The Review:

Serpentine Path return with their second LP of hate filled doom/death. The band's pedigree (Electric Wizard, Ramesses et al) is well known, so let's cut to the music.

First off, this is destined to be one of the genre's greatest releases this year. It is an excellent record. From “Essence of Heresy” onwards, the record oozes menace and horror. The tempos are slow and the riffs suitably snaking, creeping forward with insistence.

“House of Worship” is slightly quicker with riffs/lead work that recalls the early 90's DM scene. Think Obituary, not Cannibal Corpse, though. “Treacherous Waters” ups the song length and downs the tempo to a crawl. The vocals are brutal, the drums slow, the riffs stellar. There is something very nasty about the vibe of the album- in that regard it carries on the work of the superb self-titled debut. Grim stuff, and compelling to listen to with it- the track has double bass drums, good riffs and progressions and that intangible extra quality of unpleasantness.

“Claws” has a lovely downtrodden and sinister guitar refrain in the intro as the song builds up the sense of dread and paranoia. Again, the deathly vibes are there along with the doom- not as overtly as Hooded Menace, say, but present all the same. This is doom, no doubt, but with a strong injection of the slower elements of death metal as well- and it makes the band unique.

“Disfigured Colossus” brings the band to the latter half of the album and it sounds as the title reads- massive, hulking and ugly. The track fits perfectly as a set up for “Systematic Extinction”. Seven minutes of pitch black darkness. The grooves created are head nodding, to say the least, and the overall effect is of a car crash happening in front of you in slow motion.

“Torment” finishes this doom colossus with well over eight minutes of iron-fisted spite. The song is a good example of what Serpentine Path are all about- unstoppable riffs and rhythms that just keep moving forward, crushing all in their path.

It is with a great pleasure that I can say Serpentine Path have returned and consolidated the reputation built on the first album. This is an example of the genre done right- the essence of metal is here with all the horror and darkness you could wish for. Gripping and repulsive all at the same time.

Band info: Facebook|| Bandcamp

INSTRUMENTAL INTERPRETATIONS PART VIII: Vipassi – “Śūnyatā”

By: Phil Weller

Album Type: Full Length

Date Released: 20/01/2017

Label: Season of Mist

A less conservative approach to progressive tinted death metal, they pepper their songs with plenty of other musical flavourings. From the avant garde shredding on ‘Jove’, to the turbo charged, time signature metamorphosis assault of ‘Sum’, each track flaunts its own distinctive character. So if the likes of Animals As Leaders, Death, Obscura and Cynic appeal to you, then prepare for your taste buds to be tantalised.

“Śūnyatā” CD//DD//LP track listing:

1). Gaia

2). Benzaiten

3). Jove

4). Sum

5). Elpis

6). Paradise

7). Samsara

The Review:

“Instrumental music,”this record’s accompanying press release concludes, “traditionally has a harder time in metal as in other genres. All too often, virtuoso musicians have used their talent mainly to stroke already massive egos. Yet bands like Animals As Leaders have demonstrated that ambitious skills and passionate song-writing can be fused into something greater, which appeals far beyond the grudging respect of colleagues.”

Indeed, while Vipassi drag their instrumental music down more deathly, but ultimately bewildering complex hallows reminiscent of Animals As Leaders – who have also featured in this column – that band has been helping people consider the genre of late. The band’s surging popularity is contradictory to what makes the charts, of both mainstream and metallic varieties, and as a result is opening the door of opportunity to bands like Vipassi.  

The band was born from jam sessions in 2009 between guitarist Ben Boyle and members of Australia’sNe Obliviscaris – drummer Dan Presland, bassist Brendan Brown and guitarist Benjamin Baret. Soon, as the press release goes on to say, they “settled on an instrumental style that captured the openness aimed for to allow any listener to interpret and connect with the material subjectively. Their project represents a desire to explore beauty and darkness in all its shades, through melodic and complex compositions”.

Just like how the bass driven sounds of Obscuraare treading on the turf Death once carved out as their own, continuing their legacy in a heavy but imaginative manner, Vipassi too are carrying the torch. A less conservative approach to progressive tinted death metal – and Chuck Schuldiner was anything but conservative – they pepper their songs with plenty of other musical flavourings. From the avant garde shredding on ‘Jove’, to the turbo charged, time signature metamorphosis assault of ‘Sum’, each track flaunts its own distinctive character.

LikeObscura too, the bass is powerfully prevalent. Brendan Brown’s playing refuses to just steady the ship, it can fly off the handle at any conceivable moment, meandering like a lost child in a supermarket, but played with an impressive conviction, grace and musicality belying of its disregard of convention. He is there secret weapon. 

Where a singer may add interest and that all-important record selling earworm, here they don’t so much as compensate for their lack of vocals by shifting time signatures every which way as they do utilise the void therein. Their venomous songs have many twists in their tails; they can pirouette on a knife edge, flip upside or segue from primitive passages to ones of airy, chilling calm. The change comes as sudden, but never feels anything but smooth.

Listen with headphones and these compositions become wholly, terrifyingly immersive. ‘Elpis’is one such example. Above all an interloping song, something like this belongs more on a film score than it does a death metal album, but its skin crawling aesthetics stand strong; it gives the album a hellish death.

It leads you blindly into the closing track ‘Samsara’ which best merges their thundering metal, with guitars and bass tightly syncopated and resembling the sound of alien warfare, with hypnotic and creepy atmospherics. They weave in and out of the battle, sewing a vast and extravagant canvas.

Something about the music of Animals As Leaderspierces through the threshold from underground music to something more entertaining, rewarding and accessible – even if its complexity is anything but. Vipassi however, don’t come across as a band who can attain such contradictory achievements. But what they do is extremely appealing, so if the likes of Animals As Leaders, Death, Obscura and Cynicappeal to you, then prepare for your taste buds to be tantalised.

Śūnyatā is available here

Band info: bandcamp || facebook

11 IS ONE LOUDER: Gatecreeper front man Chase H. Mason aka Hellahammer chooses his Top 5 Death Metal Records

In October 2016, Arizonanewcomers GATECREEPERdelivered their stunning new album, 9 colossal tracks of low-end, old-school death metal that would form the basis of their ferocious 'Sonoran Depravation' album.

Having devastated the underground since their formation less than three years ago, GATECREEPER unleashed their first full-length to widespread acclaim.  Produced by Ryan Bram at Homewrecker Studios and mixed by the master Kurt Ballou (Converge, Nails, Black Breath) at God City Studios.

 'Sonoran Depravation' is a 30+ minutes infusion of crusty, doom-soaked death metal at its most infectious and uncompromising, indeed when they use melodies they're more creepy than pretty. They seem to only be there to allow you to catch your breath before they sit on your chest and start punching you in the face again.  With a sound that calls to mind the classic Swedish death metal bands Dismember and Gravemixed with the impeccable groove of Obituary and Bolt Thrower.   Anybody into extreme music should be able to enjoy the simple brutality and groove this band offer. 

With the band slowly carving a name for themselves within the scene, we caught up with front man Chase aka Hellahammer to talk through his top 5 Death metal albums, as we take things to the extreme, by cranking it to 11.  Why do we go to 11, “It’s one louder, isn’t it?”

Grave – “Into The Grave"

Gravecame out swinging with this debut LP. Caveman death metal from Sweden. Simple heavy riffs with just enough groove on top of some very entertaining drumming. This album taught me that it’s ok to throw in some low-key mosh riffs once in a while.

Dismember– “Massive Killing Capacity”

I know this one isn’t commonly considered Dismember’s finest work, but it’s definitely my favorite. They changed their song writing a bit on this one to adopt more of a “rock” approach and the vocals are a little more “shouty” but I think it all works perfectly. So many catchy riffs! Every song has multiple sections where I can’t help air guitar-ing or singing along. I listen to this album at least once a week and it never gets old.

Deicide– “Once Upon The Cross”

Perfect death metal album. It’s blasphemous, hard, and most importantly, catchy! It’s not an easy feat to make things catchy in death metal without sounding corny and this record has hooks all over the place.

Sentenced– “Shadows of Past”

I feel like this album doesn’t get the recognition that it deserves. Finland put out a lot of good death metal, but this one is definitely my favorite LP. It is the perfect mix of Obituary, Bolt Thrower, and “Leprosy”-era Death. There are huge chunky riffs combined with catchy and memorable leads. I love everything about it including the title’s poor grammar and the Middle School art class colored pencil cover (both of which were changed for the re-issue… shake my head). This album is a definitely a huge influence on what we do in Gatecreeper.

Death– “Leprosy”

“Leprosy” is what I would consider THE classic death metal album. This album will continue to be emulated as long as death metal exists

Band info: bandcamp || facebook