Artist: Grieving Mirth
Release Title: Calamitosvs Omine EP
Year: 2015
Label: Loud Rage Music
Genre: Atmospheric/Post-Black Metal
Tracklisting:
1.Malaugurio
2.Indelectatvs
3.Optio
4.Mille Facce
5.Abuso
Coming together in 2011, international post-black metal supergroup Grieving Mirth have brought their collective members’ experience together into a rather solid and enjoyable output of melodic and dreary atmospheric-tinged black metal. With the original recording done several years before vocals were utilized, the groups’ first EP was originally self-released March 18, 2015 before a re-release July 1, 2015 on Loud Rage Music.
By adopting this style of post-metal, the album comes off rather familiar and rudimentary quite easily here as it offers very few deviations for the style. For the most part, it’s basically a series of swirling tremolo riffing in a galloping mid-tempo push that gives this a style similar to a vast majority of the genre as it’s often paired with long-winded sections featuring the same buzzing tremolo riff repeating for some warm, rich melodies. While it’s paired nicely alongside blasting drumming and bombastic, epic keyboards for a generally massive sound throughout here, the simple fact that there’s not a whole lot else to really glean from this one does seem to hold it back somewhat as there’s only so much deviation done in these few tracks and it serves as effective and enjoyable if one-dimensional due to that. The chance to offer more tracks would push for some more deviation throughout here, but otherwise there’s not a whole lot else to find within this one.
Though there’s nothing that overtly wrong with what’s on display here, the fact that there’s room for more to work with in regards to their sound makes for quite an appealing effort only for the most devout atmospheric black metal aficionados or fans of the members’ other projects.
Forming quite recently, international grindcore supergroup Stench Price came through the tireless work masterminded by unconventional Siberian metal eccentric Peter G. Shallmin to become quite an eclectic and unconventional work. Joined by a cadre of guest musicians equally as impressive as the main group, the bands’ self-titled debut was released November 30, 2016 on Transcending Obscurity Records.
Despite the concurrent influence throughout here of rabid traditionally-minded grindcore, what becomes immediately noticeable about the album is the wealth of influences peppered throughout here. Ranging from offbeat and disjointed rhythms that contain quite a wealth of jangled patterns here that become even further into the off-kilter realm by including interludes featuring laid-back lounge rock or glittery bossa-nova sounds. These come off incredibly well-done and create quite an eclectic mix of influences throughout here merging the seemingly disparate elements into a cohesive whole which manages to flow into a tight whole with the ravenous grind aesthetics blaring away in the background with the surgical riff-work and tight, pounding rhythms make for a rather frantic charge that manages to come off quite enjoyable and can still please the ardent grind fans while throwing enough adventurous elements together to create a wholly engrossing experience. The only element that really holds this one back is the fact that there’s just no real narrative feel throughout here by constantly switching up the vocalists for each track which creates such a wildly inconsistent tone and feel that it’s more distracting than the music itself which is quite a feat. Managing to rearrange their music to fit the typical work of their guests is a big mistake overall here and doesn’t really work as the shifts in tone and dynamics become quite apparent that they’re trying to fit these different genres together to match the work of their guests and it doesn’t lead to a cohesive sound at all. Still, that might not be too much of an issue for some and will be able to overlook this one quite easily.
One of the more impressive and wholly original works of art in the genre, a rare feat in itself but to then mix the originality into actually entertaining music makes for an easy recommendation for those who can overlook the minor flaws present and are fans of the creative side involved in the project or those that want a little something different in their extreme metal.
Artist: Mindwars
Release Title: Sworn to Secrecy
Year: 2016
Label: Punishment 18 Records
Genre: Retro Thrash Metal
Tracklisting:
1.Sworn to Secrecy
2.Cradle to Grave
3.Lies
4.Twisted
5.Helpless
6.Scalp Bounty
7.Rest Now (for Tomorrow Comes)
8.No Voice
9.Prophecy
10.Release Me
11.Transporting
Following up the momentum of their last release, Italian/Los Angeles thrashers Mindwars have been following their chosen staple of late-80s thrashing alongside some punk and hard rock influences. With the two-year gap between releases allowing the band to get even closer to their old-school style along the way, the power-trio prepares to release their second full-length April 28, 2016 on Punishment 18 Records.
As is expected from the bands’ past output, this here is a raging and thoroughly ripping up-tempo attack with a series of strong swirling speed-metal patterns keeping this one charging forward with plenty of tight patterns throughout here. The punk influences carried throughout here make this one quite tight, simplistic and energetic while offering up plenty of furious intensity that goes alongside the raging riffing here with the thumping rhythm section and galloping drum-work that makes the tracks far more up-tempo and generally raging along to the mostly up-tempo sections filled with old-school arrangements that go blaring along throughout the different sections here. With this approach the band is able to generate the kind of up-tempo vibe mostly associated with the old-school scene, though it tends to make the album as a whole way too one-dimensional and rather devoid of deviation which does wear on as the album goes on. It’s just an endless parade of effectively-played old-school sounding thrash in tight, rabid one-note rhythms and doesn’t really get too much further away from that mindset, which does tend to cause this one to really play out it’s tricks quite quickly. As well, one of the tracks here is so soft and bland that it doesn’t fit with the rest of the aggressive material which lowers it somewhat further.
Though it does have a few issues with the repetitive rhythms really holding this one into being quite a one-note album for the most part, there’s still a lot more to really like here that it does manage to come off with a lot of enjoyable elements for revivalist fans to really enjoy as well as fans of the artists within the project.
Artist: Cortexiphan
Release Title: Iniquitous
Year: 2016
Label: Self-Released/Independent
Genre: Technical Death Metal
Tracklisting:
1.The Big Sleep
2.Solidus
3.Liquid
4.Man Made Plague
5.The Valley of the Dark Lords
6.Convergence
7.Son of Sam
8.Drowning
9.Lunatic Notion
10.Iniquitous
11.Winds of Sorrow
12.Great Human Woe
Formed in November 2012, internet-based technical death metal band Cortexiphan has used it’s international leanings to bring together members from the US and Italy all the way to Malaysia. After a slight roster shake-up following their first EP release, new member Andrew Patterson takes over on vocals for the groups’ full-length debut released independently August 12, 2016.
Despite the wide-ranging locales of it’s members, the most surprising element present here is the band’s effortless tight, driving chug rhythms and riff-work. This is a more modern-sounding drive that tends to employ the chugging as the main driving force, relegating this to a dense, heavy charge that simply envelops the listener in a series of ferocious sweeping riffing that employs technically-challenging rhythms that spend a vast majority of the time on the faster tempos which highlights the technicality even further. Bristling with clean rhythms and a ravenous charge that’s highly infectious because of the complex arrangements, given life by the rather clean feel that simply envelops this one in a wholly intense blend of scathing chug rhythms and ferocious driving technicality causing this to really live up to the chosen style at play here which is especially impressive given the amount of time this one drives forward in its pacing. That ends up being the main element holding this one back, as the ever-present speed and driving rhythms here tend to create a series of shorter, blistering tracks that seem to be over before it really begins. Instead of creating a framework for the tracks as a whole, this one instead simply goes for the non-stop attack battering the listener with it’s drumming and rhythms yet never really does anything to let the arrangements breathe and lets them simply drown in their whiz-bang speeds. It all starts to bleed together into unrecognizability as the few select moments where it gets to slow down and interject a melodic solo stick out against the jam-packed arrangements elsewhere throughout here. Had this been given a little more room to work with instead of cramming everything to a shortened space, this would be a lot more impressive than it already is.
Though it has a few minor hiccups here and there where it tends to really rush it’s way through things instead of letting it breathe for a few extra seconds and score some more points in it’s favor, the fact that this is as cohesive and enjoyable as it is is a strong testament to it’s quality and should be given a strong consideration for all fans of the style.
Artist: Decimated Humans
Release Title: Dismantling the Decomposed Entites
Year: 2016
Label: Transcending Records (Ghastly Music reissue)
Genre: Brutal Death Metal
Tracklisting:
1.Decimation of Humanity
2.Sanguivorous
3.Spawned from Discernment
4.Extermination Campaign
5.Eternal Bleeding
6.Consumed by Cadirus
7.Trinity
8.Viral Incision
9.Translucent Endtimes
10.Severed Veins
11.Venomous Breed ‒ The Final Entity
A wholly international act, brutal death metallers Decimated Humans have soldiered on as a two-piece after a minor line-up reshuffle that leaves Australian Wyatt Chee on the instrumentation with Nevada-based Lennon O’Donnell on vocals. Initially released April 16, 2016 on Transcending Records before a reissue August 12, 2016 on Ghastly Records, this second full-length album showcases more of a technical/progressive side while still incorporating their signature slams and blasts.
For the most part this here is a truly unrelenting and savage monster of an album with plenty of truly lethal and blistering rhythms running throughout here. The main influence here is a ravenous technical assault that generates a truly frightening attack here by managing to make the riff-work truly complex and challenging while making for a whirlwind of truly blistering leads alongside the tight, densely-layered chugging riff-work leading this along it’s paces. Not only is the technical savagery littered with impressively progressive leanings in being able to meld that level of musicianship into the tight space for the arrangements but then to mix all this blazing technicality into a slam-based concoction is just decimating, leaving this with a truly vicious and utterly ferocious blast of brutal material that’s just as much infectious as the brutality. The swirling technologically-based production that renders it all into a concise, mechanical blast of feral energy is a truly enjoyable burst of energy that’s absolutely spellbinding and brings it all into focus with the technically-precise riffing getting the chance to shine while making the pummeling rhythm-section just bulldoze everything in it’s wake in a sea of blazing, gory glory which is what makes this one such an intimidating and ferocious assault. The music may indeed be a blur of noise to some, but it’s hardly worth nitpicking about when the rest of the material is this good.
Frankly, this here is near-flawless account of truly frightening technicality and pummeling brutality that’s as listenable and infectious as it is devastating and vicious, which leaves this one of the genre’s very best overall examples and makes this required listening for fans of any style incorporated into this assault on the ears.
Artist: Cadaveric Poison
Release Title: Cadaveric Poison
Year: 2016
Label: Metal-on-Metal Records
Genre: Death/Thrash Metal
Track;listing:
1.Cadaveric
2.The Few
3.Rollover
4.Fight for Evil
5.Forfeit the Race
6.Never Put All Your Stones in One Basket
7.Face the Whore
8.Bombs Away
9.Violence Breeds Violence
10.Poison
The self-titled debut from International death/thrash supergroup Cadaveric Poison offers a lot of exceptionally strong work overall that makes them a potential powerhouse in the genre. This here is mostly all about simplistic, straightforward riffing featuring low, deep rhythm patterns creating a dark, heavy atmosphere that permanently dwells over the entire release emanating from the riff-work. There’s a certain dynamic spreading throughout the album as the cause of the straightforward, simplistic patterns keeps this charging along at pretty frantic, strong up-tempo paces that are far more enjoyable when it really lets loose with these arrangements as the heavy thrashing melds together incredibly well with the primitive death metal riff-work. Off-set by the ability to drop into a stellar mid-tempo sprawl that still maintains that evil, dark atmosphere for a sense of variety, this all makes this a wholly enjoyable and cohesive effort which does manage to highlight the one big flaw throughout here. The fact that the material does come off with a cohesive sound that it feels awfully familiar quite quickly here as it goes about doling out it’s attack which rarely deviates from either pattern throughout here. Considering the chance this had to really let loose if it did something about having both an intro and outro that would have provided more chances to deviate somewhat, but overall this one still doesn’t come off that bad with the enjoyment on offer here with how it executes the material/
The first half sets up this one’s work incredibly well. The instrumental intro ‘Cadaveric’ uses a haunting, ominous series of chords setting the stage for proper first-track ‘The Few’ ripping through pounding drumming and simplistic thrashing riff-work through raging tempos with swirling intense rhythms holding the raw, dirty rhythms along through the onslaught of tight riffing and a strong series of thumping, mid-tempo paces into the solo section leading into the raging final half for a spectacular, rousing opening effort. ‘Rollover’ features tight, swirling thrashing riffing and pounding drumming rolling through intense tempos as the series of sprawling, slow-down riffing makes for a fine segue into a rolling, blistering series of thrashing riff-work leading into the solo section and continuing through the blistering finale for another strong effort. ‘Fight for Evil’ immediately takes on thumping mid-tempo charging with infectious riffing and pounding, simplistic drumming thumping along through the steady paces keeping the simplistic rhythms along throughout the solo section and carrying through the steady final half for a truly enjoyable highlight offering. ‘Forfeit the Race’ uses a sprawling series of riffing before settling on thumping drumming and ravenous swirling thrash rhythms carrying the steady riffing along into the dexterous drumming and holding the steady thrashing riffing along through the blistering solo section and continuing through the finale for another solid, enjoyable track.
The second half stumbles a tad but still has a lot to like here. ‘Never Put All Your Stones in One Basket’ features rattling mid-tempo riffing and straightforward drumming running through a fine mid-tempo pace with plenty of rattling rhythms carrying the steady pace along through the steady paces leading into the solo section and carrying through the final half for a decent and solid track. ‘Face the Whore’ takes a steady, sprawling extended lead-in and melodic leads that turns into a rattling swarm of up-tempo thrashing riffing alongside the rattling drumming that continually pounds along to it’s simplistic charging pace into the solo section and on through the blistering finale for a rather dynamic and impressive effort. ‘Bombs Away’ uses a steady fade-in that works through a fine mid-tempo series that keeps the steady, straightforward riffing along through the deep, rattling patterns and plodding drumming that carries the steady rhythms leading into the solo section and keeping the plodding pacing intact through the final half for a still-decent-if-obviously-weakest track on here. ‘Violence Breeds Violence’ immediately blasts through the steady riffing and churning drum-work carrying the straightforward patterns along through the intense patterns leading through the furious riffing thrashing along through the solo section and keeping the intensity raging through the finale for another utterly strong track. Lastly, album-closing instrumental ‘Poison’ takes the sampled noises and ominous build-up into the light fade-out makes for a fine lasting impression as it ends this nicely.
While it does misstep a bit from time-to-time, there’s still a whole lot of enjoyable elements featured here that makes this a wholly worthwhile example of this genre that sounds ripe and ready for fans of the members’ other projects or for those who enjoy this rattling, primitive-sounding death metal variant.
