ALBUM PREMIERE: Philadelphia thrash punks Roadkiller deliver sneering self titled EP

By: Mark Brandt

The Philly punk scene is a powerful thing. It has always been defined by house shows, heavy riffs and a dedication to the layer of crustiness that makes the city so wonderfully twisted. It should come as no surprise that this bastion of hard hitting punk rock would be a lodestone for some of the best punk rock talent in the world. Such was the case for the mysterious Australian born guitarist of California Motorhead tribute band Motorbabe, and now frontwoman of hard hitting punk thrash heavyweights, Roadkiller. When she (who shall remain nameless) flew out to visit a friend she couldn’t get enough of the punk scene and when she met a drummer who was down to jam, she realized destiny was calling.

After an initial burst of shows, Roadkiller quickly recorded their self titled debut EP, a record fated to make your ears bleed in all the right ways. This is guitar driven high energy riffage. Clearly inspired by the eighties but capable of tapping into so much more, these songs will make you want to tear shit up as you scream along to powerful choruses and nightmarish verses. Created with the goal of fusing punk, hard rock and crossover thrash whilst still remaining uniquely Roadkillerthe band is on a mission to write quality heavy music and play out as much as possible.

With dreams of constant touring and a dedication to quality songwriting, Roadkiller are more than just another punk band. We are witnessing the birth of a well oiled machine, a group who represent the magic of all the underground has been and will be.

Blending classic vibes with a modern tinge, Roadkiller are exactly the sort of band we need in 2018. Constantly punching above their weight class and sneering their way to the top of the notorious Philadelphia scene, any way you slice it, Roadkillerare out for blood.  Their self-titled debut EP will be released on November 16th 2018 and the five blistering tracks are the perfect combination of thrash, metal and punk attitude. The EP is highly recommended for fans of Megadeth, Motorhead and Exhorder.  Check it out in all its thrashing glory below

Band info: bandcamp|| facebook

ALBUM REVIEW: Black Tusk, "T.C.B.T."

By: Richard Maw

Album Type: Full Length

Date Released: 17/08/2018

Label: Season of Mist

Black Tusk, as the title of the album suggests, are taking care of business in the most direct and ferocious way. No fat, no let up- just pure high energy rock n roll.

“T.C.B.T.” CS//CD//DD//LP track listing:

1). A Perfect View of Absolutely Nothing
2). Closed Eye
3). Agali
4). Lab Rat
5). Scalped
6). Ghosts Roam
7). Ill At Ease
8). Rest With the Dead
9). Never Ending Daymare
10). Orange Red Dead
11). Whispers
12). Burn the Stars

The Review:

Punk rock fury. That's what Black Tusk are bringing with them to this particular party. Corey Barhorst of Kylesa fame has taken over from Athon (having seen the band live with both line ups, no one could replace Athon, per se) and he holds down the low end and his portion of the vocals impressively and never without anything less than 100% conviction.

Through their previous records, the band has channelled stoner, sludge, metal and rock n roll to go with the punk element, but it is the band's punk tendencies which shine here. The album is raw and angry and the first three tracks after the intro clip by at an astonishing intensity. The sound expands with “Scalped” and “Ghosts Roam”, but the band really are taking care of business in the most direct and ferocious way. No fat, no let up- just pure high energy rock n roll. To say that if you crossed Sick of It All with Mastodon you might get Black Tusk... well, it's not wide of the mark.

I confess to being a big fan of the band and this album was never going to disappoint. Their finishing statement with Athon, “Pillars of Ash”, was reviewed by me for THE SLUDGELORD a couple of years ago and that still stands as a vicious and rocking slab of primal screams- “T.C.B.T.” is different but no less good. Through releases such as “Tend No Wounds” and “Taste The Sin”, Black Tusk have always put their own personal stamp on their approach and sound and have never really sounded like the other Savannah bands (Kylesa, Baronesset al) by virtue of their directness and energy. They remain a different proposition here and perhaps can be viewed as the Motorhead of the Savannah scene: cool, uncompromising and having a good time, all the time- even through the worst times.

Through the twelve tracks here the band are intense and on fire. Sure, not every riff is memorable and not every hook is golden, but the band make up for this with shear commitment and will. Equally, picking stand outs is tricky here as every track has something to offer and every track is bursting with energy. “Never Ending Daymare” is a fine example of what the trio do best; and the energy with which they do it, but I couldn't argue with any listener picking out “Closed Eye” or “Ill At Ease” or... pretty much any song here.

The final three tracks on the record burn just as brightly as the first three and with that, the record is over. If there is any criticism to be levelled here, it is not at the band themselves but the cover art leaves a little to be desired. To go from the beautifully haunting imagery of John Baizley's art work on previous releases to the stark black and white dullness of the cover here, well, it should have been better.

That said, Black Tusk, as the title of the album suggests, are taking care of Black Tusk(“T.C.B.T.”) in the only way they know how: with full on enthusiasm. The album is a joy to hear and shows that triumph can come from tragedy and can happen without compromise. I for one am very glad that the band are still around. We are lucky to have them.

“T.C.B.T.” is available here

Band info: bandcamp || facebook

REVIEW: Acid Priest, "Drop Out" [EP]

By: Mark Ambrose

Album Type: EP

Date Released: 05/06/2018

Label: Independent

Like the best psychedelic art they explore the bizarre, the beautiful, the sinister and the sensual all at once and leave your mind reeling.  Strap in, drop out, and follow the Acid Priest to stoner salvation.

“Drop Out” DD track listing

1. Initiation

2. WarWagon

3. The King Tide

4. Let Go

5. EYEZZ

The Review:

My media libraries seem to be inundated with odes to psychedelic explorations – the complete Zap Comix line my shelves next to the midnight movies of Alejandro Jodorowsky abutting mind melting genre writers and the discographies of prolific drug takers too numerous to mention.  But I have to admit up front that for all my rhapsodizing about stoner riffs and psychedelic freakouts, and a less than saintly life in 33 years, I’ve never taken the plunge into LSD.  I’m cripplingly neurotic on my best days and convinced I’ll step into a nightmare vision out of a Beksinski painting the moment I drop acid.  But after listening to the warped, fuzzy, oddly beautiful tunes on “Drop Out”, the church of the Acid Priest may find new lysergic converts.

It’s all about the riffs for these punky metal rockers.  There’s a warm current of Thin Lizzy running through all five tracks of their debut EP, but intro track “Initiation” is like a harmonic blast of golden 70s hard rock.  Guitarist Zakk Mild’s riff is so finely crafted, in fact, that it feels a bit wasted on an intro.  No matter, since there are stellar riffs to spare in the four remaining bangers.  “WarWagon”hinges on a gallop that recalls the early days of NWOHBM – when it still retained a strong crossover appeal to punkers and heshers alike.  Bassist and lead vocalist Spliff Burton doesn’t reinvent the wheel of classic metal bass playing – he lays it out solid and thick, with few frills.  His unique cadence as a vocalist is really something – belting out some snarling lines on this one and sliding into a gothy croon on “Let Go” and “EYEZZ” that feels like some desert rock cranked to 11.  The doomy, stoner outro of “WarWagon”manages to pull of pyrotechnic shreds and ignorant riffs – not an easy feat for seasoned veterans, let alone guys cranking out a debut.  The “King Tide” is steeped in Cali hardcore but way more headbanging than half that shit could aspire to.  Loaded with hooks and equipped with a memorable, shouted chorus, it’s no wonder that this was the band’s first single.

“Let Go” shifts gears from sheer aggression to weirder, sinister tones.  Between Burton’s smoothed out vocals and the reverb-laden guitar lines of the verses make recalls the golden era of stoner metal.  The shuffling rhythms here are key; Steve Kunzel’s drumming is jazzy punked out metal precision that would make Bill Ward proud, and make plenty of modern metal drummers blush from embarrassment at their own double kick monotony.  When the mellow sheen drops, the chaos lurks beneath, and it’s largely because of this percussive dynamic.  The eerie, spacey ending, complete with spoken word poetry, makes it a memorable and oddly affecting track.  The closer “EYEZZ” is another total left field freakout.  Layered with sinister organ playing, monastic chanting, and gothy whispers, I found myself recalling the bizarre Euro-metal outliers of 80s metal, especially Italian creep-doomsters Black Hole, before a hardcore break, followed by some evil prog like the bastard spawn of Deep Purple and “Red” era King Crimson.

If the genre shifts, tempo changeups, and mashup of clean and shouted vocals sound overwhelming… well that’s because it is!  But in a remarkably cohesive, rocking way.  There’s no gimmick at the heart of this trio, just strait up headbanging rock indebted to the classics while not playing the boring game of nostalgia-fueled pastiche.  Like the best psychedelic art they explore the bizarre, the beautiful, the sinister and the sensual all at once and leave your mind reeling.  Strap in, drop out, and follow the Acid Priest to stoner salvation.

“Drop Out” is available here

Band info: bandcamp|| facebook

VIDEO PREMIERE: Piss River deliver kick-ass riffing, kick-ass vocals and a party time vibe on "Thor Is Strong"

On the 24th of April 2018, Piss Riverreleased their self-titled debut album via The Sign Records. The album combines a variety of influences and results in a sound that can only be described as a cross between Girlschool, L7, The Gitsand Annihilation Time. 

The album contains tracks such as”Speed Machine”,”Take Me To Rusk” and ”Thor Is Strong” that shows the band's NWOBHM background. While "Sparks” is a tribute to L7s Donita Spark. Other stand out tracks includes ”Bad Reptution” that have that has a driving punk rock attitude that will turn any party upside down. A cover of Larry Wallis’ song”Police Car” ties together the albums many and mixed influences into this infectious rock n roll nightmare.  Today coming 4 weeks after the album’s release, we have been given the chance premiere the band’s kick ass new video for “Thor Is Strong”, which you can check out below.  You can purchase the album here

Band info: facebook

REVIEW: Iron Reagan & Gatecreeper, "Split"

By: Mark Ambrose

Album Type: EP

Date Released: 02/03/2018

Label: Relapse Records

“Split” CD//DD//LP track listing

1. Iron Reagan, “Warning”

2. Iron Reagan, “Paper Shredder”

3. Iron Reagan, “Take the Fall”

4. Iron Reagan, “Proudly Unaccountable”

5. Iron Reagan, “Burn for This”

6. Gatecreeper, “Daybreak” (Intro)

7. Gatecreeper, “Dead Inside”

8. Gatecreeper, “War Has Begun”

The Review:

               

Splits are regularly some of my favorite releases – so much so that in my yearly rundown I tried to highlight some of the real standouts in a growing field of collaborative metal albums.  With grind splits, you can end up with several bands spitting out double digit tracks and not break the twenty minute mark, or, in the case of Fister & CHRCH, you can have two sludge powerhouses spewing out 15-20 minute odes to suffering.  Maybe my favorites are those cross-subgenre cage matches, like the latest split between punky crossover thrashers Iron Reagan and decrepit death conjurers Gatecreeper.  Aside from rock solid production and rugged intensity, these two metal standouts have little in common.  But like a particularly memorable basement show, the disparity actually makes this brief hunk of aggression amount to more than its scant eighteen minutes would suggest.

               

Iron Reagan need no real introduction at this point – the members have been responsible for some of the best death, crossover, thrash and hardcore of the last few years.  The five cuts they contribute are like a little tour through classic hardcore punk and 80s thrash – opener “Warning” has a bright, SoCal hardcore tone that, at first listen, almost sounds like a massive Hammond organ.  Paper Shredder ups the LAxHC antics, with a tapped out intro lead, Anthraxindebted gang vocals, and palm muted builds to full on mosh breaks.  “Take the Fall” swaps coasts as the most classically Bay Area thrash metal cut on the record – the chugging rhythm work is the real standout, while the lead flourishes are pure Hammett worship.  “Proudly Unaccountable” is the briefest outing on the record (at a pummeling 45 seconds), but the strange rhythm changeups had me thinking of midperiod Black Flag with blast beats.  “Burn for This” may be my favorite cut on the record, a brutal little number that practically sounds like skatepunk.  I could certainly imagine it blasting behind a Bones Brigade tape.  The whammy bar work walks a thin line between Slayer divebombs and East Bay Ray surfer leads.  As a closer, it’s a rad sendoff that speaks volumes to how Iron Reaganis far more than a nostalgia act – these guys whip up a punky metal cocktail with their own signature on every riff, every breakdown, and every shouted lyric.

               

Gatecreeper somehow slipped under my radar until this split and, boy, am I ready to delve into their surprisingly large catalogue (especially for a band only formed in 2013!).  Vomiting out filthy, nihilistic death, the Arizona five-piece inserts the right amount of punk rhythm into their crushing metal riffs.  Drummer Matt Arrebollo slides just enough punk fury into his galloping double-kick attacks to keep things from ever getting repetitive.   Intro track “Daybreak” is a neat instrumental pummeling, but one-two punch of the abysmally downbeat “Dead Inside” and the apocalyptic “War Has Begun” made me crave a lot more of what Gatecreeper has to offer.  Wagner and Garrett’s occasional harmonic flourishes really had me hooked into their old school death metal, while the rhythm is gut churning in all the right ways.  If I had any complaints about the release, it’s that Gatecreeper didn’t have five tracks of death to counter the five bursts of enervating crossover thrash from Iron Reagan.  Like the best splits, this left me craving more… I suppose for now another spin of this excellent record will have to suffice.

“Split” is available here

Band info: Iron Reagan|| Gatecreeper

ALBUM REVIEW: Coliguns, "Millennials"

By: Charlie Butler

Album Type: Full Length

Date Released: 23/03/2018

Label: Hummus Records

“Millennials” is a whirlwind of chaos interspersed with periods of hypnotic heaviness. Coilguns have crafted a killer record played with a hunger and venom that leaves all competitors eating their dust.

“Millennials” CD//DD//LP track listing:

1). Anchorite
2).  Deletionism
3).  Millennials
4).  Spectrogram
5).  Music Circus Clown Care
6).  Ménière’s
7).  Wind Machines For Company
8).  Self Employment Scheme
9).  Blackboxing
10).  The Screening

The Review:

Fans of the chaotic heaviness of classic Hydra Head bands like Keelhaul and Knutneed Coilgunsnew LP “Millennials” in their lives. The unpredictable Swiss quartet have taken that powerful early 2000s sound, imbued it with their distinct brand of mayhem and dragged it screaming into the present.

“Anchorite” opens proceedings with a slowly unfurling locked groove that sounds like Mastodon’s “Remission” being dragged into a pit of sludge. The uncomfortable, dark atmosphere cast by this track persists throughout this mesmerising record that flits between simmering controlled carnage as demonstrated on “Self Employment Scheme” and brief bursts of head-scratching math-metal like “Music Circus Clown Care”.

The title track demonstrates Coilguns ability to temper their complexity with raw, paint-stripping punk rock intensity. Few bands can deliver this kind of raging adrenaline rush, hurtling into oblivion like their sadly missed Swiss comrades Krugeron a collision course with the sun. A looming doom riff appears to signal a snail-paced climax before the drums thunder back in at full speed to maintain the rapid velocity.

This is just one example that highlights the importance of Luc Hess’ drumming. More often than not, the drumming on these tracks will pursue an unexpected path for a band of this style to great effect. “Spectrogram” is based on an ominous, tom-heavy pattern that has more in common with post-punk than metal or hardcore. Its ominous repetition provides the perfect backdrop for the bands lumbering riffs and slowly building wall of sound. The restrained menace and eerie twinkly keyboard sounds conjure up a claustrophobic mood that brings to mind the underrated Breach. When the band lock into a punishing, Shellacstyle riff on “Deletionism”, the drums shuffle in and around the riff instead of providing the expected punishing groove. This makes it all the more powerful when the beat returns to more traditional heavy territory.

“Millennials” is a whirlwind of chaos interspersed with periods of hypnotic heaviness. Coilguns have crafted a killer record played with a hunger and venom that leaves all competitors eating their dust.

“Millennial” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: IIsa - "Corpse Fortress"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 02/03/2018

Label:  Relapse Records

After five full-length and three split releases, Ilsa is at a creative and musical high water mark. As such, "Corpse Fortress" is an outstanding experience.

“Corpse Fortress” CD//DD//LP track listing:

1. Hikikomori
2. Nasty, Brutish
3. Cosmos Antinomos
4. Prosector
5. Old Maid
6. Long Lost Friend
7. Ruckenfigur
8. Polly Vaughn
9. Drums of Dark Gods

The Review:

Fans of D.C. death/doom powerhouse Ilsa have been treated to a feast of albums over the years. Since 2009's "The Maggots Are Hungry," Ilsa has churned out a consistent and crunchy blend of extreme music that boasts a fresh intensity every time. "Corpse Fortress," the band's Relapse Records debut, shows that on its latest Ilsa is in prime shape to continue the band's five-album trip into savagery.

At first blush, "Hikikomori" feels like an unusual opener. At over six minutes, it is one of the record's longest cuts, and its languid drums fill the cut's first 15 seconds. Almost immediately thereafter, however, you are reminded why Ilsa has its reputation of impossibly heavy music, with thick bass lines and guitars cutting through the drums. Bassist Sharad Satsangi sets an impressive pace here and in the subsequent song, "Nasty, Brutish" – supported by guitar lines by Brendan Griffiths, the songs plant the flag for "Corpse Fortress" to be the distortion-fest of fury and noise that it is.

Vocalist Orion Peter makes the most of the incredibly dark atmosphere, painting grisly imagery in its anguished words. In "Cosmos Antinomos," he howls, "Show​ ​me​ ​your circles​ ​of​ ​violence." In "Prosector," his words are just as withering. "Ever-consummate capitalist/Ever-compassionate Christian," Peter seethes amid flailing drums and relentless guitars. "So slow to forgive, yet quick to forget/The sins of thine own." He and the rest of the group are at their best on a track like "Long Lost Friend," with vocals that singe the ears and a rhythm section that rumbles the gut. The guitar work remains peerless even this far into the album, as the band sinks into some of its best work yet.

Insatiably sinister songwriting, with sharp commentary, has been a hallmark of Ilsa's sound. Slayer's "Disciple" is widely recognized as one of the most excoriating metal songs about religion, by Ilsa's 2010 cut "120 Days" is a close second in the discerning music fan's book. With lyrics like "Trampled underfoot, all life that springs forth afresh/Unnoticed, till broken under grinding wheels" ("Traphouse") and many more gory sonnets, Ilsa has a flair for the hostile. Tracks on "Corpse Fortress" such as "Rückenfigur" ("Willful​ ​ignorance, painful​ ​indifference, pedantic​ ​inquiries") mix at moments social critique of the rot around us. While imagery of beasts and demons may be the stuff of nightmares, Ilsa reminds us that humanity's ignorance and violence ("Old Maid") and pure happenstance ("Polly Vaughn") may be the most fearsome of all.

For nearly a decade, Ilsa has been seen as among the best of breed when it comes to the strain of hardcore/crust-influenced metal that has only grown more in recent years. The group has also been showered with lofty though good comparisons to Eyehategod and others. With such high expectations, it is impressive to see that there is really very little to pick apart about "Corpse Fortress." The nine tracks each compose a very formidable package, with no filler or songs you might not consider as strong as the rest. After five full-length and three split releases, Ilsa is at a creative and musical high water mark. As such, "Corpse Fortress" is an outstanding experience.

“Corpse Fortress”is available here

Band info: bandcamp || Facebook

ALBUM REVIEW: Centuries - "The Lights of This Earth Are Blinding"

By: Charlie Butler

Album Type: Full Length

Date Released: 26/01/2018

Label: Southern Lord Recordings

“The Lights Of This Earth Are Blinding” is a compelling release with a split personality,  like a cross betweeb Cursed with subtle hints of black metal and the crushing sound of “Remission” era Mastodon with a more direct punk aggression.

  

“The Lights of This Earth Are Blinding” CD//DD//LP track listing:

1. The Lights of This Earth Are Blinding
2. Wooden Hands
3. Bygones
4. Soil
5. A Bow Across A String
6. The Climb
7. The Endless Descent
8. May Love Be With You Always
9. Fury
10. Nul Orietur

The Review:

Originally from Florida, the members of Centuries are now scattered far and wide between Pittsburgh, Nashville and even Manchester in the UK. Fortunately geography hasn’t got in the way of them making a great second LP in the form of “The Lights of This Earth Are Blinding”.

The record rips into life with the raging title track, a two and a half minute blast of crusty hardcore riddled with hard sludge riffing. This sets the tone for the first half of the LP which comes across like Cursed with subtle hints of black metal. The breakneck rush of “Bygones” is especially furious, bolstered by some pummelling blastbeats.

“The Climb” opens the second half of the album with a marked drop in tempo but maintains the same level of venom and bile. This track marks a shift in tone as the likes of “May Love Be With You Always” and “Nul Orietur” see Centuries metal leanings coming to the fore. This results in a crushing sound reminiscent of “Remission” era Mastodon but with a more direct punk aggression.

The biggest surprise here is “Fury” which begins as a dark acoustic lament that erupts into a grand finale. The sparse opening section of the song makes sense of the acoustic instrumental “Wooden Hands” which appears earlier in the album. On first listen this piece feels jarring after the explosive title track despite its moody restrained menace but further listening marks it out as a premonition of the heaviness to come.

“The Lights of This Earth Are Blinding” is a compelling release with a split personality. It will be interesting to see what path Centuries tread from here but whatever happens it is sure to be a heavy ride.

“The Lights of This Earth Are Blinding” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Mammoth Grinder – "Cosmic Crypt"

By: Mark Ambrose

Album Type: Full Length

Date Released: 26/01/2018

Label: Relapse Records

Mammoth Grinderisn’t some newfangled blackened tech fusion melodic death metal.  This is Neanderthal music, meant to crush, rend, rip and destroy to.  In less than 30 minutes, this Paleolithic power trio blast out 11 tunes that don’t reinvent the wheel – they lay waste to anything so civilized as that nonsense.  

“Cosmic Crypt” CD//DD//LP track listing

1. Grimmenstein

2. Servant of the Most High

3. Blazing Burst

4. Divine Loss

5. Molotov

6. Superior Firepower

7. Human is Obsolete

8. Locust’s Nest

9. Mysticism

10. Rotting Robes

11. Cosmic Crypt

The Review:

Now that the true deep freeze of winter has crept into the northeastern US, my daily soundtrack has mostly been the coldest black metal I can find.  Shrill, inhuman, alienating dissonance with tracks lasting ten or twenty minutes transporting me to a land of northern darkness as vast as a Lovecraftian planetscape.  But this year, the muck and humidity has burst through unexpectedly, like a deep rot thought excised.  The stink of swamp gas behind my home bubbles up at random intervals, reminding me that while the grim sterility of winter reigns on the surface, there’s a limitless, festering putrescence ready to boil through the icy cracks.  How appropriate that the long dormant Mammoth Grinder rises from the tomb to unleash classic death metal in the midst of this strange, damp season. 

               

Mammoth Grinder isn’t some newfangled blackened tech fusion melodic death metal.  This is Neanderthal music, meant to crush, rend, rip and destroy to.  In less than 30 minutes, this Paleolithic power trio blast out 11 tunes that don’t reinvent the wheel – they lay waste to anything so civilized as that nonsense.  From the opening salvos of “Grimmenstein”, the emphasis on filthy low end tones pairs perfectly with bassist-vocalist Chris Ulsh’s cave troll vocals.  Throughout “Cosmic Crypt”, Ulsh sounds like he’s bellowing from the deepest underground chambers, daring you to come face the horrors within.  Drummer Ryan Parrish, meanwhile, alternates between hardcore influenced, straightforward metal beats, complemented by precise, slick fills.  Mark Bronzino is definitely copping from the old school, post-thrash vanguard (a la Slayer and Possessed) of shrill, whammy bar throttling leads – but he does it so damn good, who would complain?  Aspiring rhythm riffers would do well to study his no frills, catchy as fuck style.

               

The standout tracks here are the most frenetic: punky thrash death rager “Blazing Burst”; “Divine Loss”, that turns on a dime from 6/8 dirge to straightforward death (with some nice rhythmic eccentricities smattered here and there); and “Human is Obsolete” – which trudges through a deliciously sludgy intro and has a simple but hypnotic guitar solo.  The final one-two punch of “Rotting Robes” and “Cosmic Crypt” is an excellent crescendo of fury on an already solid record.  “Rotting Robes” is your standard death metal before throwing in this beautifully rude, swaggering riff, riding on the excellent rhythm section.  The titular, final track is definitely elevated by Ulsh unleashing his most unhinged vocals.  Not to be outdone, Bronzino lays down his most restrained, memorable solo.  It’s easy to see why, with an unmatched performance, Mammoth Grinder closes the eponymous record with this mini-masterpiece. And before you know it, the seething decay has receded. 

Mammoth Grinder doesn’t wear you out with any extended bullshit.  They come to unleash slaughter and crawl back into whatever nightmare dungeons they lurk in when not decimating unwitting victims.  I hope to hell we get more filthy death from this trio before 2023, but at least I know they’re lurking at the edges, ready to erupt when the world seems sterile and just too serene.

“Cosmic Crypt” is available here

Band info: bandcamp || facebook