Friday, August 1, 2014

Cinerary – Rituals of Desecration

Cinerary is a brutal death metal band from Chicago. They formed in 2000 and released a single EP called Rituals of Desecration one year later. Apparently they're still around, but they haven't released anything in fucking forever. Will this EP be any good? Let's find out.

The most notable part about this EP is that it features Matti Way on vocals. He would later go on to perform in Liturgy (the brutal death metal band, not that shitty hipster band) and Pathology. His performance here is pretty sweet. He pulls off this deep guttural growl that just sounds excellent. It makes me wonder if he was listening to Brodequin around this time.

The rest of the band is great as well. Disgorge drummer Ricky Myers plays a lot of violent blast beats that feature rapid fire double bass. The snare has a strong sound and the mid-paced rhythms have a strong sense of groove to them. Guitarist Dan "Wrench" Louise plays a lot of dark and rumbling shredding riffs throughout the album. They're played rather well and have a wicked and sinister tone to them. He also plays a few slam riffs on occasion. When paired up with the screeching pinch harmonics, they bring a lot of groove to the music.

Although this EP is really short, it's full of great music. I especially love Matti Way's vocal delivery. Physical copies of this EP are really rare, so if you ever manage to find it, be sure to pick it up. Or you can just download like I did. I don't care.
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Thursday, July 31, 2014

Perverted Dexterity – Primitive Scene of Inhumanity

Ever since Brodequin appeared, brutal death metal bands across the world have been striving to achieve ultimate brutality. Most of the time, that quest ends in failure. Why? Because they all make the same mistake. What is that mistake? They try to achieve this ultimate brutality by sacrificing good songwriting. Enmity is the poster boy for this kind of thinking. Brutal death metal bands seem to think that good songwriting and utter brutality are mutually exclusive. They don't realize that the reason why Brodequin became so legendary in the first place was because they backed up their brutality with good songwriting. Without good songwriting, brutality is rendered meaningless.

Lucky for me, I discovered a band which knows that utter brutality and good songwriting go hand in hand. The band's name is Perverted Dexterity. It's a one-man band created by a young Indonesian man named Januaryo Hardy (or Ryo for short) in 2010. He released his full-length debut, Primitive Scene of Inhumanity, back in May of this year. I started listening to this album a few days ago. Now I can't stop. I love it that much.

This guy worships Brodequin. However, unlike his peers, he doesn't try to mindlessly copy the superficial elements. He backs it up with great songwriting. I'll get to that in a bit. Let's start off with the production. Most of Ryo's peers sound pretty muffled. This album doesn't have that problem. I can hear things quite clearly. I can also hear the bass. Their riffs give the music a thick and meaty texture. Since this is a one-man band, it's obvious that a drum machine would be present. I don't have a problem with it on this album. Not only do they sound natural, but the performance is great. It performs a lot of rampaging blast beats and drilling double bass that sound quite similar to what Brodequin did. Sometimes I like to think that Ryo somehow built himself a robot Chad Walls.

The vocals consist of a guttural growl that's pretty much an industry standard. I don't have a problem with that because they still put on a great performance. I also like the guest growls performed by Mike O'Hara of Splattered Entrails on the song “Devoured By Vultures”. Now we come to the guitars. This is where the album really shines. He plays a lot of Brodequin style buzzsaw shredding. He also plays a few crushing chugs and some screeching pinch harmonics. What I really like about these riffs is just how well-written they are. Every riff seems to flow seamlessly into the other. The transition between riffs feel so natural. All of the song progressions make sense. Nothing feels out of place or unnecessary. The riffs seem to crawl into your skull and rip apart your brain with laser-focused brutality. In other words, the riffs are much more memorable than most other brutal death metal bands.

Primitive Scene of Inhumanity is one of the best brutal death metal albums I've heard in a long time. The instrumental work and the songwriting are absolutely amazing. This guy is almost as good as Brodequin. Not only that, but this album bolsters Indonesia's presence in the brutal death metal scene. If you're looking for utter brutality that is well-crafted, then this album is for you.

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Wednesday, July 30, 2014

Anima Damnata – Atrocious Disfigurement of the Redeemer's Corpse at the Graveyard of Humanity

In 2003, Anima Damnata, a brutal blackened death metal band from Poland, released their full-length debut Agonizing Journey Through the Burning Universe and Transcendental Ritual of Transfiguration. The name might have been ridiculous, but the music was awesome. In 2007, they released a second album. What was this album called? Atrocious Disfigurement of the Redeemer's Corpse at the Graveyard of Humanity. Seriously, do these guys have a fetish for needlessly verbose album titles or something? Well, none of that matters because this album is awesome.

The music on this album is more or less a repeat of what they did on their first album. I don't have a problem with that. If it ain't broke, don't fix it. The drums still blast away with absolute fury. I swear, these blast beats are almost as violent as those performed by Chad Walls. The snare has this odd thumping sound to it, but it's still really powerful. The performance is also a bit more complex. They play a lot more rolls and fills this time around.

The growls sound a bit more hoarse this time around, but they still sound really brutal. As for the guitar work, it's still just as awesome as it was on the first album. The tone is crunchy and vile. As for the riffs themselves, they're a bit more technical this time around. Their structures are a lot more complex and enticing. Some of them remind me of bands like Krisiun. They also throw in a lot more pinch harmonics. As for the solos, they're even more amazing than they were on the first album. They just utterly tear shit up. Some of them even remind me of early Morbid Angel. I especially love the solos on the songs “Cum on Christ” and “Those Who Don't Wear the Devil's Mark Shall Burn in Crematories of Eternal Hell ”. (I love these lulzy song titles.)

Once again, Anima Damnata has offered up an excellent blend of black metal and brutal death metal. Unfortunately, they haven't released anything new in over seven years. I hope they put out something soon. Given how much I've made fun of their aesthetic, they'll probably name their album “Anally Violating that Stupid Autistic Fuck known as BreadGod atop the Highest Peak under the Full Moon at Midnight”. I'd buy the shit out of that.
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Tuesday, July 29, 2014

Trenchrot – Necronomic Warfare

Take a look at that album cover. It just screams old school. Sure enough, this album is old school. Trenchrot is a brand new Philadelphia band that plays the death metal of the ancients. They formed in 2012 and released their full-length debut, Necronomic Warfare, back in February of this year. After listening to this album, I nostalgia'd hard.

The first thing you'll notice about this album is that it combines the sounds of both the American death metal scene and the Swedish death metal scene. Normally, mixing these two styles is like mixing water and oil, but Trenchrot managed to find a way to combine them in a fashion that not only makes sense but sounds amazing. The production is an absolute delight. Most death metal nowadays sounds really sterile, but the sound on this album is rich and deep. It doesn't have that Swedish death metal crunch that people know and love, but it still has a really gritty texture.

The musicianship is amazing. Drummer Justin Bean plays those pure and simple Swedish d-beats that will pound against your skull throughout the entire album. However, there are moments when he slows things down and plays some great rhythms that feature lots of rapid galloping double bass. He also plays lots of excellent fills that feature extensive tom work. The bass is high up in the mix. Steve Geptik takes advantage of this by playing lots of rumbling riffs that add a great deal of thickness to the music. The vocals performed by frontman Steve Jansson consist of a hoarse growl that reminds me of bands like Autopsy. They're deliciously sick, and they're made even better by the wonderfully campy lyrics that focus on subjects like raising undead armies and killing posers.

The center of attention is the guitar work of Brooks Wilson. This guy has been bathed in the old school death metal fires, he has studied the secrets of the forefathers, he has forged his craft into a deadly weapon of mass destruction. In other words, this guy is a great guitarist. He plays a lot of chainsaw shredding riffs that sound like the rampaging charge of a skeleton army. The tremolo riffs have a tone that invokes unholy terror. However, he doesn't focus exclusively on speed. He also plays some slow riffs that sound almost like doom/death. They help build up tension for when the rapid fire riffs strike again. Topping it all off are the solos. They sound like a wild animal on the loose, such as on “Gustav Gun”, but then there are times when they go all doom/death on us and sound downright beautiful, such as on “Mad Dogs of War” and the title track.

Necronomic Warfare is one of the most fun and entertaining albums I've heard in a long time. The production is rich and deep. The musicianship is amazing. The American and Swedish death metal styles are blended together perfectly. Do you have a hunger for old school death metal? Do you want to tap your nostalgia vein? If so, then Trenchrot is for you. If you don't love it, then you're a poser who deserves a quick death.

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Touhou Tuesday #129

Drawn by Miwol
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Monday, July 28, 2014

Anima Damnata – Agonizing Journey Through the Burning Universe and Transcendental Ritual of Transfiguration

Get a load of this fucking album title: Agonizing Journey Through the Burning Universe and Transcendental Ritual of Transfiguration. This ridiculous shit sounds like something Impaled Northern Moonforest would come up with. It's made even funnier by the fact that the band that created this, Anima Damnata, is dead serious. I was honestly expecting this album to suck loads of donkey jizz, but it's actually pretty awesome.

Anima Damnata can best be described as brutal blackened death metal. They basically play brutal death metal with a bit of black metal sprinkled on top. It works out pretty well. The production is kind of fuzzy but not overpowering. All the instruments still shine through. The drums are an unrelenting blasting force. The snare has this popping sound that reminds me of Brodequin. The mid-paced rhythms feature intricate cymbal work as well as plenty of double bass. They also play a lot of awesome fills.

The vocals consist of a vicious growl that is deep and hoarse. They are occasionally accompanied by angry black metal rasps. They spend all their time praising Satan and shit. It's funny how these grown-ass men still take that Satanism shit seriously. Of course, it doesn't matter what they growl about. Their performance is still great. As for the guitars, they're fucking awesome. They play a lot of fast shredding riffs that utterly tear apart the fretboard. The black metal tremolo riffs they occasionally play are cataclysmic in nature. Some of them even remind me of bands like Blasphemy and Revenge. They also take the time to play a few stomping chugging riffs. They then top things off with something that is rarely seen in brutal death metal: solos. They're utterly deranged and will annihilate your ear drums without a care in the world.

Sure, Anima Damnata's imagery and naming conventions are unintentionally hilarious, but their music is nothing to laugh about. It's motherfucking brutal. Are you man enough to withstand their brutal blackened death metal assault?
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Sunday, July 27, 2014

Pustulated – Inherited Cryptorchidism

Pustulated was the bastard child of Brodequin. It was formed by former Brodequin drummer Chad Walls in 2002. To complete the lineup he brought in Cory on guitars and Andres on guitars and vocals. They recorded an EP called Pathognomonic Purulency in 2002. One year later they released their full-length debut, Inherited Cryptorchidism. They also released another full-length called Haematoma in 2005, but I can't find it anywhere. Be warned: this shit's fucking brutal.

The production leans rather heavily towards the drums. No surprise given that Chad Walls is the brains behind the band. Speaking of which, the greatest part of this album is the drum work. No surprise given that Chad Walls is the drummer. His blast beats are vicious and rampaging. His snare has a powerful sound to it, and the speed at which he strikes it is downright inhuman. I'm starting to suspect that he sold his soul in exchange for awesome drumming skills. As with his previous band Brodequin, he doesn't focus solely on blasts. He also plays a lot of complex mid-paced rhythms that feature rapid double bass and calamitous cymbal work. Not only that, but he also plays way more rolls and fills than he ever did back in Brodequin.

I love the vocal work. They consist of a gurgling burp that sound like they're being made by a deranged mutant that crawled out of some fetid sewer. They're so ridiculous and over the top that they end up being awesome. The guitars are great too. These guys play a lot of buzzsaw shredding riffs that sound similar to Brodequin, but they also play a few riffs that are a bit more technical in nature. They also play a lot of crazy pinch harmonics. Unlike most other brutal death metal bands, Pustulated have a bit of a lighthearted side to them. Chad Walls will sometimes throw in some cowbell to throw the listener for a loop. The guitars will occasionally play some ridiculous noodling. They even throw in some orchestral clips on “Exploring Uranus”.

This album is sometimes complex, sometimes bizarre, but it's always awesome. The vocals are grotesque, the guitars are amazing, and Chad Walls remains utterly astounding. Eat your heart out, Flo Mounier! It's too bad that this band was so short-lived. I guess the world couldn't handle the massive amounts of brutality they were offering.
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Saturday, July 26, 2014

Liturgy – Dawn Of Ash

Before you ask, no, this isn't that shitty hipster band from New York. This Liturgy was a brutal death metal band from Tennessee. It was formed by brothers Jamie and Mike Bailey. You may recognize them as the brains behind Brodequin. Filling in on drums is Jon Engman, also from Brodequin. Who did they get to perform vocals? Matti Way. He would later go on to join a little band called Pathology. In 2004, these men got together to record only one album called Dawn Of Ash. I was going to call this album “Dawn Of Ass”, but luckily it doesn't suck.

The production sounds similar to early Brodequin. It sounds all muddy and gritty. The bass is also quite prominent, thus reinforcing the gritty nature. As for the music, it also sounds like Brodequin. No surprise given that most of the members are from Brodequin. The music is still good, so I don't have a problem with that. Jon Engman plays lots of violent blast beats that feature a great deal of clattering cymbal work. He also plays strong mid-paced rhythms that feature rapid double bass. He may not be as awesome as Chad Walls, but he still puts on an excellent performance.

Matti Way performs a deep, guttural growl. He sounds almost exactly like Jamie Bailey. The resemblance is downright uncanny. I love it. As usual, Mike Bailey plays a lot of vicious buzzsaw riffs that rip apart everything. They have this dark crunchy sound that creates an overwhelming atmosphere of anger and destruction. Unlike Brodequin, Liturgy features quite a few slam riffs that help to spice things up. They also play a few slithering tremolo riffs that help to add a bit more atmosphere to the music.

If you're a fan of Brodequin, then you're bound to love Liturgy. It has everything, from the gritty production to the vicious drumming to the guttural vocals to the buzzsaw riffs. Brutal death metal Liturgy is best Liturgy!
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Friday, July 25, 2014

Brodequin – Methods of Execution

Festival of Death was the last album to feature drummer Chad Walls. In 2002 he left the band and formed Pustulated. The band replaced him with Jon Engman from black metal band The Cold Beyond. In 2004, the band released what would be their final album, Methods of Execution. Will it live up to the standards set by their previous albums? Let's find out.

Once again, the production is different. This time the bass takes on a more prominent roll. Its performance makes the music sound thicker and more gruesome. The production is great, but what about the instrumentation? Does it live up to the awesomeness we saw on Instruments of Torture of the technical might we saw on Festival of Death? Jon Engman had some pretty big shoes to fill. Chad Walls is one of the greatest drummers in all of brutal death metal. Personally, I think he pulls it off just fine. He performs a lot of wicked blast beats that feature a ravaging snare sound and clattering cymbals. He also performs a lot of complex mid-paced rhythms that feature lots of rumbling double bass and extensive use of the toms.

As usual, Jamie Bailey lets out a vicious guttural growl. If it ain't broke, don't fix it. As for his brother Mike, his guitar work is even more technical than it was on Festival of Death. The riffs no longer sound like a roaring buzzsaw that utterly eviscerates everything in its path. Now it sounds more nuanced and intricate. The compositions seem really focused and intelligent. The structures have this dark slithering quality that reminds me of bands like Deeds of Flesh. However, even thought the riffs sound complex, they still hold true to the relentless brutality that made them legendary. They're fast, they're crunchy, and they'll ravage your soul.

Overall, this was a great final album. It may not have the charm of their debut, but it's still an excellent display of technical ability and sheer brutality. My only problem was with the final track. It mostly consists of ambient filler. I think this album would have been better without it. So what happened after Brodequin broke up? The Bailey brothers directed all their attention towards managing their label, Unmatched Brutality Records. Jon Engman went on to play in several bands that aren't listed on Metal Archives. As for Chad Walls, he's now playing in a shitty go-nowhere power metal band called Shock. Seriously, man, what the fuck are you doing? Get back to your roots!
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Thursday, July 24, 2014

Rotten Corpse – Maggot Sickness

I remember listening to Maggot Sickness by Rotten Corpse almost a year ago. I hated it. I think the atrocious production had something to do with it. After the band broke up, some of the members went on to form Disinfected, which I enjoyed much more. Some time ago, the members of Rotten Corpse got back together. The very first thing they did was remaster Maggot Sickness. When I saw this, I decided to give the album a second chance. I'm glad I did.

The production is bass-heavy, which means that the music sounds really thick and gritty. As for the music itself, it sounds like a mix of Deicide and Suffocation. The drums play a lot of simple and straightforward blast beats that feature lots of chaotic cymbal work. They also play some mid-paced rhythms that feature lots of double bass.

The vocals consist of a deep and guttural growl that is utterly indecipherable. They're brutal to the point of ridiculousness, and I love 'em. As for the guitars, they play your standard 90s brutal death metal riffs. They're nothing special, but they're still performed well. Sometimes they play some dark shredding riffs, sometimes they play some chugs, sometimes they play some wicked grooves, and other times they play some primitive pinch harmonics. They also perform a few sweet solos on occasion.

This album is less than half an hour long, but it's still an enjoyable experience. It offers us a glimpse into the early days of the Indonesian brutal death metal scene. If you like to study the histories of various metal scenes, then you might want to listen to this album.
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