Friday, October 31, 2014

We Must Now Fight Back Against The Social Justice Warriors In The Metal Scene

Metal has fought against and triumphed over many enemies throughout its long history. Politicians. Religious leaders. The mainstream media. Metal has survived their onslaughts and has only gotten stronger. But now metal is up against what is quite possibly the most dangerous and insidious enemy it has ever faced: social justice.

Now I bet you're probably thinking, “But BreadGod, social justice sounds like a good thing. How can you be against something like social justice? Does that mean you're for social injustice?” That's what the proponents of social justice (commonly known as social justice warriors) want you to believe. They want you to believe that they're all about making society a better place. That couldn't be farther from the truth. Social justice is totalitarianism in disguise. That sounds like an outrageous claim to make, but it's the truth. To understand why, we need to go back in time a hundred years. Sit tight, ladies and gentlemen. You're about to learn some chilling truths.
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Ævangelist – Writhes In The Murk

I've been following Ævangelist since its inception. Led by Ascaris of Velnias and Matron Thorn of Benighted in Sodom, they have been producing some of the darkest death metal to ever exist. First came De Masticatione Mortuorum in Tumulis, which sounded like a horde of the gnawing dead. Then came Omen Ex Simulacra, which sounded like a creeping mass of sinister flesh. And now they have released Writhes In The Murk. What an appropriate title.
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Thursday, October 30, 2014

Devormity – Revolusi dan Agresi

Late last year, I reviewed Devormity's first EP, Suffering Inhuman The Impalement. I liked it. It's a heavy slab of Bandung brutality. They released that EP back in 2011. It took them three years to release their full-length debut, Revolusi dan Agresi. Understandable given that most Indonesian metalheads, like most other metalheads, are poor and recording a new album is an expensive process. I think it's good that they took their time, because this is some wicked brutal death metal.

These guys sound extremely similar to Jasad. No surprise given that Jasad is one of the most influential bands in the entire Indonesian brutal death metal scene. Drummer Redda plays a lot of rampaging blast beats as well as mid-paced rhythms that feature a great deal of double bass. Unfortunately, the snare has that annoying thudding sound that seems to plague so many other Indonesian brutal death metal bands. The album would have been better if they had improved the tuning of the snare. Bassist Ekky mainly follows the guitars, but his performance makes the rest of the music sound extremely heavy and monstrous.

Vocalist Rajiv Rizal Sidik performs a deep and harsh growl that sound like a pack of demon warriors who take pride in spilling the blood of the innocent. They further amplify the brutality of the rest of the music. Guitarist Lavey plays equal doses of crushing slam riffs and slithering tremolo riffs. He pulls no punches. He shows no mercy. The riffs exhibit both wicked groove and barbaric fury. They're a fitting homage to Jasad. Did I also mention that they perform a cover of Jasad's “Urine Campur Nanah”? It sounds better than the original. The band even takes the time to play some amazing technical riffs such as those on “Horror Zone”.

Tragedy struck on April 16, 2014. Vocalist Rajiv Rizal Sidik was murdered in his home. He was only 22. This album was the last thing he worked on, and it is amazing. It's extremely brutal and it features brilliant instrumental skills. Rajiv's vocals are the icing on the cake. Rest in peace, Rajiv. Your brutality lives forever.
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Wednesday, October 29, 2014

Forced Psychosis – The Time Of The End

Forced Psychosis was a thrash metal band from Mountain View, California. They formed under the name Lethal Creed in 1984 and changed it to Forced Psychosis in 1988. They released only one demo called The Time Of The End in 1989 then split up two years later. It's too bad that they were so short-lived, because their music is absolutely chaotic.

If a thrash metal band were to make a soundtrack for the apocalypse, this is what it would sound like. It's so violent it almost sounds like grindcore. The drums play a constant blast beat assault that feature the cataclysmic clashing of cymbals and rumbling double bass. He intersperses these blast beats with fills that sound like crumbling cities.

The vocals consist of an angry shout that sounds similar to bands like Slayer. Although they're kind of unoriginal, they're still brimming with anger and hatred. The guitar work is what really steals the show here. They play lots of shredding riffs that sound like raging fire, but they spend most of the time playing some of the craziest solos I've ever heard on a metal album. They screech and howl like a swirling mass of damned souls. The band assaults the strings so furiously I'm surprised they didn't melt from the violent performance.

This demo was short but it was motherfucking intense. The music is raging and merciless. It brings forth total destruction. If you're looking to get your skull crushed by some awesome thrash metal, then this demo is for you.
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Tuesday, October 28, 2014

Dig Me No Grave – Cosmic Cult

Dig Me No Grave hail from the Russian city of Vologda. Russia is more commonly known for its black metal and doom/death scenes, so I had no idea what to expect of these guys. They released their full-length debut Cosmic Cult earlier this year and I was immediately attracted to it by the Lovecraftian cover art. Sure enough, these guys also like to talk about Lovecraft's works. Lots of metal bands like to talk about Lovecraft, so I wondered what these guys would do to make it more interesting. You know what they did? They played some great death metal that pays homage to bands like Immolation and Morbid Angel.

First of all, I love that production. It has that thick and meaty sound that was commonplace in death metal during the early 90s. It hits you with the force of an ancient interstellar god. The music is equally intense. Drummer Anatoliy Schenikov frequently switches between rampaging blast beats and creeping mid-paced rhythms that feature copious amounts of double bass. The cymbals sound like shattered stars and the pounding snare sounds like exploding planets. The performance is an excellent mix of both and new death metal drumming styles. Although bassist Stanislav Timofeev spends most of his time following the guitars, he still puts on a great performance that helps make the music sound strong and thriving.

Vocalist Alexey Rumyantsev performs a dark and bellowing growl that sounds almost exactly like Immolation's Ross Dolan. He sounds like a mysterious, incomprehensible entity that lurks in the abyss, commanding you to do his bidding. Best of all is the guitar work of Nikita Smirnov and Anton Pyatakov. They play lots of slithering shredding riffs that sound like they were pulled straight from Gateways to Annihilation. They also play lots of mid-paced riffs that pack a lot of groove. These mid-paced riffs almost sound Swedish in nature. They then top things off with some solos that pierce the void and make the sentient races of the galaxy quake in fear.

This was an amazing album. These Russians really know how to make dark and evil death metal. The production is thick and strong and the music is a brilliant tribute to bands like Immolation and Morbid Angel. If you wish to listen to this twisted and wicked creation then you can head on over to their Bandcamp page.

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Touhou Tuesday #142

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Monday, October 27, 2014

Virus (Cze) – Symfonie smrti / Brousím si kosu na tvý vlasy

Virus was a short-lived thrash metal band from the Czech Republic. They had the misfortune of existing just as thrash metal was starting to die out. They formed in 1989, released a single called Symfonie smrti / Brousím si kosu na tvý vlasy in 1991, then broke up. There are only two songs on here, but they're pretty decent.

The opening riff to the first song reminded me of Inspector Gadget. That made me laugh, but the level of energy they display is no laughing matter. This is pure thrash. The drums play lots of simple blast beats and mid-paced rhythms that feature a great deal of double bass. The snare is strong and there's lots of fantastic cymbal work. The bass mainly follows the guitar, but there are moments on the first song where they pull off some sweet jazzy tricks.

The vocals consist of gravelly singing that reminds me of the German thrash metal scene. He sounds angry but there's also a slight hint of crazy to his performance, especially when he hits us with those high-pitched screams. As for the guitars, their performance is really solid, albeit slightly unoriginal. They perform a lot of mid-paced chugging riffs that possess a strong and meaty tone as well as a few aggressive shredding riffs. They're played nicely and they're really catchy. They then top things off with a few sweet solos.

Although Virus made only two songs, they're pretty sweet. They played angry mid-paced thrash metal that was somewhat catchy at times. It's a shame they died before they were able to realize their full potential.
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Sunday, October 26, 2014

Vargavinter – Walstatt

There once was a black metal band from Germany called Vargavinter. It was a one-man band spearheaded by a guy named Wolf (real name Ronald Möbus), who also happens to be a member of Absurd. I've heard good things about Absurd, so I was hoping this was gonna be good. What I got instead was one of the most hilariously bad black metal demos ever recorded.

First of all, the production is complete and total shit. It sounds like it was recorded in the middle of a forest inside a dead goat's asshole. Everything is muffled beyond comprehension. I like lo-fi production, but I simply cannot stand this. The music is even worse. Since this is a one-man band, the drums are programmed, but I don't hear any drums. You know what I hear instead? A bunch of rapid fire clicking. I have a feeling he bought the cheapest drum machine he could possibly find. Either that or he found it in a trash can somewhere. The guitars consist of a bunch of sloppy shredding riffs that have been tuned down to brutal death metal levels. There's nothing interesting about them. They just sort of swirl around in this pool of rancid urine and diarrhea dog shit Vargavinter calls a demo.

The only thing that keeps this demo from becoming utterly, horrifically bad is the hilarious vocal performance. Wolf's black metal vocals consist of strangled screams. Instead of sounding terrifying, he sounds like he ate a bunch of rocky mountain oysters thinking they were real oysters only to have someone tell him what they really were. (In case you don't know what rocky mountain oysters are, this video will tell you more than what you ever wanted to know.) There are also times when he performs clean vocals that make him sound like a shitty version of Rammstein. These clean vocals just feel so unnecessary and out of place, but at least they provide some cheap comedic value.

So, yeah. This demo is bad. Really fucking bad. It's not the worst thing in the world, but it's still horrible. The only reason I would recommend this demo is for a cheap laugh. Otherwise, stay the fuck away.
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Saturday, October 25, 2014

Dissection (Can) – Final Genocide

Kill a cop cop kill a cop kill a kill a kill a cop!”

But seriously though, Dissection was a Canadian thrash metal band that formed under the name Genocide. They changed their name to Dissection in 1987. Two of the members, Antisocial Zap and Heavy, used to be in another thrash metal band called Outbreak. In 1988, they released their only full-length album, Final Genocide. The title is a reference to their old monicker. The eventually broke up in 1996. They reformed in 2008, but they have yet to release anything new. I spend most of my time talking shit about the Canadian metal scene, but this was one time when they put out something awesome.
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Friday, October 24, 2014

Bombers From Burundi – Bombers From Burundi

Bombers From Burundi was a crossover thrash band from Germany that released only a single self-titled album near the end of the 80s. I had no idea what Burundi was, so I did some research. Turns out it's an African country that's stuck between Zaire, Rwanda, and Tanzania. I'm pretty sure these guys chose that name because it sounded cool. Doesn't matter. Their music's still good.

Although these guys are German, the music sounds very American. The only exception is the vocal performance. They consist of this deep, harsh shout that sounds similar to bands like Kreator. Although they're not the type of vocals you would typically find on a crossover album, they still work really well. They're aggressive and energetic. The band also performs a lot of gang vocals. This is a common crossover aesthetic, but they do it nicely here.

The rest of the music is great as well. The drums play a lot of simple and hard-hitting blast beats. They also play lots of punkish mid-paced rhythms that utilize a great deal of double bass. I especially like that solo it performs at the beginning of “Screams”. The bassist mainly follows the guitar, but there are times when it pulls off some sweet tricks. As for the guitars, they're just splendid. They have a crunchy sound which produces a buzzsaw effect when they play their shredding riffs. They also play lots of catchy chugging riffs that help to break up the pace. There aren't that many solos on here, but they utterly tear shit up.

This album maybe short, but the music is excellent. It's fast and energetic and it's imbued with that classic German aggression.
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