#AbominablePutridity

Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: October 2024’s Angry Misses</a>By KenstrosityNever fear, the blog’s penchant for <del>deep lateness</del> punctuality persists! It is likely the new year already by the time you see this post, but we’re taking a step back. Way back, into October. I was deep in the shit then, and therefore couldn’t do anything blog-related. And yet, my minions, those very laborers for whom I provide absolutely no compensation whatsoever, toiled dutifully in the metallic dinge that is our Filter. Unforgiving though those environs undoubtedly are, they scraped and scoured until, at long last, small shards of precious ore glimmered to the surface.These glimmers are the same which you witness before you. Some are big, some are small. Some are short, some are tall. But all are worthy. Behold! Kenstrosity’s Belated Bombardments <a href="https://www.facebook.com/Cosmic-Putrefaction-331030417723505/" rel="nofollow noopener" target="_blank">Cosmic Putrefaction</a> // Emerald Fires atop the Farewell Mountains [October 4th, 2024 – <a href="http://www.profoundlorerecords.com/" rel="nofollow noopener" target="_blank">Profound Lore Records</a>]I was originally slated to take over reviewing duties for Cosmic Putrefaction this year, as Thus Spoke had a prior commitment and needed a buddy to step in. Unfortunately, I was rendered useless by a force of nature for a while, so I had to let go of several items of interest. But I couldn’t let 2024 go by without saying something! Entitled Emeral Fires atop the Farewell Mountains, Cosmic Putrefaction’s fourth represents one of the smoothest, most ethereal interpretations of weird, dissonant death metal. The classic Cosmic Putrefaction riffsets under an auroric sky remain, as evidenced by ripping examples “[Entering the Vortex Temporum] – Pre-mortem Phosphenes” and “Swirling Madness, Supernal Ordeal,” but there lurks within a monstrous technical death metal creature who rabidly chases the atmospheric spirits of olde (“I Should Great the Inexorable Darkness,” “Eudaemonist Withdrawal”). While in lesser hands these distinct aesthetics would undoubtedly clash on a dissonant platform such as this, Cosmic Putrefaction’s particular application of sound and style coalesces in devastating beauty and relentless purpose (“Hallways Engraved in Aether,” “Emerald Fires atop the Farewell Mountains”). Were it not for some instances wherein, for the first time ever, Cosmic Putrefaction threatens to self-plagiarize their own material (“Eudaemonist Withdrawal”), I would likely consider Emerald Fires atop the Farewell Mountains for year-end list status.<a href="https://www.facebook.com/feralswe/" rel="nofollow noopener" target="_blank">Feral</a> // To Usurp the Thrones [October 18th, 2024 – <a href="https://tometal.com/" rel="nofollow noopener" target="_blank">Transcending Obscurity Records</a>]Another one of my charges that I unfortunately had to put down against my will, Swedish death metal fiends Feral’s fourth salvo To Usurp the Thrones deserves a spotlight here. Where <a href="https://www.angrymetalguy.com/feral-flesh-of-funerals-eternal-review/" rel="nofollow noopener" target="_blank">Flesh for Funerals Eternal</a> impressed me as my introduction to the band and, arguably, my introduction to modern buzzsaw Swedeath, To Usurp the Thrones impresses me as a singularly vicious record in the style. Faster, meaner, more varied, and longer than its predecessor, Thrones offers the punk-tinged, thrashy death riffs you know and love, with bluesy touches reminiscent of Entombed’s Wolverine Blues adding a bit of drunken swagger to the affair (“Vile Malediction,” “Phantoms of Iniquity,” “Into the Ashes of History”). Absolute rippers like “To Drain the World of Light,” “Deformed Mentality,” “Decimated,” and “Soaked in Blood” live up to the band’s moniker, rabid and relentless in their assault. In many ways, Thrones evokes the same bloodsoaked sense of fun that Helslave’s <a href="https://www.angrymetalguy.com/helslave-from-the-sulphur-depths-review/" rel="nofollow noopener" target="_blank">From the Sulphur Depths</a> conjured, but it’s angrier, more unhinged (“Spirits Without Rest,” “Stripped of Flesh”). Consequently, Thrones stands out as one of the more fun records of its ilk to come out this year. Don’t miss it!<a href="https://www.facebook.com/sunworshipband" rel="nofollow noopener" target="_blank">Sun Worship</a> // Upon the Hills of Divination [October 31st, 2024 – <a href="https://vendettarecs.wordpress.com/" rel="nofollow noopener" target="_blank">Vendetta Records</a>]Back in 2020, our dear Roquentin offered some damn fine words of praise for Germany’s Sun Worship and their third blackened blade, <a href="https://www.angrymetalguy.com/sun-worship-emanations-of-desolation-things-you-might-have-missed-2019/" rel="nofollow noopener" target="_blank">Emanations of Desolation</a>. It’s been six years since that record dropped, and Upon the Hills of Divination picks up right where Emanations left off. That is to say, absolutely slimy, post-metal-tinged riffs bolstered by dense layers of warm tremolos and mid-frequency roars. Opener “Within the Machine” offers a concrete encapsulation of what to expect: bits and pieces of <a href="https://www.angrymetalguy.com/hulder-verses-in-oath-review/" rel="nofollow noopener" target="_blank">Hulder</a>, <a href="https://www.angrymetalguy.com/gaerea-coma-review/" rel="nofollow noopener" target="_blank">Gaerea</a>, and <a href="https://www.angrymetalguy.com/vorga-beyond-the-palest-star-review/" rel="nofollow noopener" target="_blank">Vorga</a> melding together into a compelling concoction of hypnotic black metal. Using the long form to their utmost advantage, Sun Worship craft immersive soundscapes liable to scald the flesh just as quickly as they seduce the senses, leaving me as a brainwashed minion doing a twisted mystic’s bidding unconditionally (“Serpent Nebula,” “Covenant”). Yet, there roils a sense of urgency in these songs, despite many of them occupying a mid-paced cadence, which unveils a bleeding heart willingly wrenched from Sun Worship’s body (“Fractal Entity,” the title track, and “Stormbringer”). This is what sets it apart from its contemporaries, and what makes it worthy of mention. Why it’s gotten so little attention escapes me. It is with the intent of rectifying that condition that I pen this woefully insufficient segment. Dolphin Whisperer’s Duty Free Rifftrocity<a href="https://www.facebook.com/extortednz/" rel="nofollow noopener" target="_blank">Extorted</a> // <a href="https://extorted.bandcamp.com/album/cognitive-dissonance" rel="nofollow noopener" target="_blank">Cognitive Dissonance</a> [October 16th, 2024 – Self Release]You don’t need to read this review to know that the Kiwis of Extorted plays pit-whipping death/thrash. Though not adorned with other obvious symbols, like Vietnam War paraphernalia or crushed beer cans, the Ed Repka-penned brain-ripped head figure screams “no thoughts only riff” all the same. With snares set to pow and crashes set to kshhh, Cognitive Dissonance finds low resistance to accelerating early Death-indebted refrains. Vocalist Joel Clark even plays as a dead ringer for pre-Human Schuldiner or Van Drunen (<a href="https://www.angrymetalguy.com/asphyx-necroceros-review/" rel="nofollow noopener" target="_blank">Asphyx</a>, ex-<a href="https://www.angrymetalguy.com/pestilence-exitivm-review/" rel="nofollow noopener" target="_blank">Pestilence</a>) as the torture in many lines grows (on “Infected” and “Ghastly Creatures” in particular). And in a continued tour of Van Drunen-associated sounds, Extorted’s ability to find a push-and-pull cadence that twists the fury of thrash with the cutting drag of death hits that hard-to-nail early Pestilence pocket with studied flair (“Deception,” “Limits of Reality”). Though a considerable amount of the Extorted identity rests in ideas borrowed and reinterpreted, a modern tonal canvas gives Cognitive Dissonance’s rhythms a punchy and balanced low-end weight that doesn’t always present itself in the world of old. Couple that with hooks that reach far beyond the limits of pure homage (“Transformation of Dreams,” “Violence”), and it’s easy to plow through the thirty minutes of tasteful harmonies, bending solos, and spit-stained lamentations that Extorted offers with their powerful debut.<a href="https://brii.bandcamp.com/" rel="nofollow noopener" target="_blank">Bríi</a> // Camaradagem Póstuma [October 11th, 2024 – Self Release] With Camaradagem Póstuma we enter the hazy, folky world of Caio Lemos’ unique vision of what experimental electronic music can be colored by the underpinnings of atmospheric black metal and jazz fusion. Using terraced melodies like baroque music of old and distant breakbeats like the <a href="https://www.angrymetalguy.com/bong-ra-meditations-review/" rel="nofollow noopener" target="_blank">Bong-Ra</a> of recent yesteryears, Brazil’s Bríi represents one man’s highly specific melding that rarely occurs in this space. The guitar lines that do exist play out as textural, slow-developing passages. On tracks “Aparecidos” and “Baile Fantasma” this looping and hypnotic pattern shuffle resembles ambient Pat Metheny or <a href="https://www.angrymetalguy.com/yer-prog-is-olde-king-crimson-in-the-court-of-the-crimson-king/" rel="nofollow noopener" target="_blank">King Crimson</a> colors, the kind where finding the end of nylon pluck into a weaving, high-frequency synth patch feels not impossible but unnecessary. And on the more metallic side of things, Lemos cranks programmed blasts that carry his tortured, panning, and shrouded wails as a guide for the melodic evolution of each track, much in the same way a warping bass line would in a progressive house track. But maintaining the tempo of classic drum and bass, Camaradagem Póstuma wisps away in its atmosphere, coming back to a driving rhythm either via pummeling double kick or glitching break. Despite the hard, danceable pulse that tracks “Enlutados” and “Entre Mundos” boast, Bríi does not feel built for the kvlt klvbs of this world, leaning on a gated, lo-fi aesthetic that makes for an ideal drift away on closed cans, much like the equally idiosyncratic <a href="https://www.angrymetalguy.com/amgs-unsigned-band-rodeo-wist-strange-balance/" rel="nofollow noopener" target="_blank">Wist album</a> from earlier this year. And similarly, Camaradagem Póstuma sits in an outsider world of enjoyment. But if any of this sounds like your jam, prepare to get addicted to Bríi. Thus Spoke’s Rotten Remnants<a href="http://www.facebook.com/livloesband" rel="nofollow noopener" target="_blank">Livløs</a> // The Crescent King [October 4th, 2024 – Noctum Productions]Livløs are one of those bands that deserves far more recognition than they receive. With LP three, The Crescent King, they might finally see it. Their punchy intriguing infusion of Swedish and US melodic death metal—though the band themselves hail from Denmark—has a pleasing melancholia and satisfying bite. Here in particular, there’s more than a passing resemblance to <a href="https://www.angrymetalguy.com/hath-all-that-was-promised-review/" rel="nofollow noopener" target="_blank">Hath</a>, to <a href="https://www.angrymetalguy.com/cognizance-malignant-dominion-review/" rel="nofollow noopener" target="_blank">Cognizance</a>, and to <a href="https://www.angrymetalguy.com/in-mourning-the-bleeding-veil-review/" rel="nofollow noopener" target="_blank">In Mourning</a>. Stomping grooves (“Maelstrom,” “Usurpers”) slide in between blitzes of tripping gallops, and electrifying fretwork (“Orbit Weaver,” “Scourge of the Stars”). Mournful, compelling melodies woven into this technical tapestry—some highlights being the title track, “Harvest,” and “Endless Majesty”—turn already good melodeath into great melodeath; melodeath that’s majestic and powerful, without ever feeling overblown. With its relentless, groovy dynamism, the crisp, spacious production seals the deal for total immersion. If this is your first time hearing about Livløs, you’re in for a treat.<a href="https://www.facebook.com/sordideband" rel="nofollow noopener" target="_blank">Sordide</a> // Ainsi finit le jour [October 25th, 2024 – <a href="https://lesacteursdelombre.net/" rel="nofollow noopener" target="_blank">Les Acteurs de l’Ombre Productions</a>]And So Ends the Day, whilst another begins where I rediscover Sordide. I know not how I forgot their existence despite the impression that 2021’s Les Idées Blanches made upon me, yet all I could recall was the disturbingly simple, <a href="https://sordide.bandcamp.com/album/les-id-es-blanches-2" rel="nofollow noopener" target="_blank">melty art.</a><a href="https://www.angrymetalguy.com/stuck-in-the-filter-october-2024s-angry-misses/#fn-207332-1" rel="nofollow noopener" target="_blank">1</a> Ainsi Finit le Jour arrives with a hefty dose (53 minutes no less) of punky, dissonant black metal that’s even rawer and more pissed-off than their usual fare. “Des feux plus forts,” “La poesie du caniveau,” and the title track stand out as the most vicious, near-first-wave cuts the trio have ever laid down, with manic, group wails, and chaotic, jangling percussion. But as is so often the case with Sordide, perhaps the truest brutality comes in the slower discordant crawls of “Sous Vivre,” “Tout est a la mort,” and the particularly unsettling “La beauté du desastre,” whose creeping, half-tuneful teasing and turns to eerie spaciousness get right under your skin. It is arguably a little too long for its own good, given its intensity, but its impressiveness does mean that, this time, Sordide won’t be forgotten. Dear Hollow’s Droll Hashals <a href="https://www.facebook.com/annihilistmetal/" rel="nofollow noopener" target="_blank">Annihilist </a>// Reform [October 18th, 2024 – Self Release]What Melbourne’s Annihilist does with flamboyant flare and reckless abandon is blur the lines of its core stylistic choices. One moment it’s chugging away like a deathcore band, the next it’s dripping away with a groove metal swagger, ope, now it’s on its way to Hot Topic. All we know is that all its members attack with a chameleonic intensity and otherworldly technicality that’s hard to pin down. An insane level of technicality is the thread that courses throughout the entirety of this debut, recalling Within the Ruins or <a href="https://www.angrymetalguy.com/the-human-abstract-digital-veil-review/" rel="nofollow noopener" target="_blank">The Human Abstract</a> in its stuttering rhythms and flailing arpeggios. From catchy leads and punishing rhythms (“The Upsend,” “Guillotine”), bouncy breakdowns, clean choruses, and wild gang vocals (“Blood”), djenty guitar seizures (“Virus,” “Better Off”) to full-on groove (“N.M.E.,” “The Host”), the likes of <a href="https://www.angrymetalguy.com/lamb-of-god-lamb-of-god-review/" rel="nofollow noopener" target="_blank">Lamb of God</a>, early <a href="https://www.angrymetalguy.com/architects-the-here-and-now-review/" rel="nofollow noopener" target="_blank">Architects</a>, Born of Osiris, and <a href="https://www.angrymetalguy.com/children-of-bodom-hexed-review/" rel="nofollow noopener" target="_blank">Children of Bodom </a>are conjured. Lyrics of hardcore punk’s signature anarchy and societal distrust collide with an instrumental palette of melodeath and the more technical kin of metalcore and deathcore, groove metal, and hardcore. As such, the album is complicated, episodic, and unpredictable, with only its wild technicality connecting its fragmented bits – keeping Reform from achieving the greatness that the band is so capable of. As it stands, though, Annihilist offers an insanely fun, everchanging, and unhinged roller coaster of -core proportions – a roller -corester, if you will. Under Alekhines Gun<a href="https://www.facebook.com/TheurgyBDM/" rel="nofollow noopener" target="_blank">Theurgy</a> // Emanations of Unconscious Luminescence [October 17th, 2024 – <a href="https://newstandardelite.bandcamp.com/" rel="nofollow noopener" target="_blank">New Standard Elite</a>]In a year where slam and brutal death have already had an atypically high-quality output, international outfit Theurgy have come with an RKO out of nowhere to shatter whatever remains of your cerebral cortex. Channeling the flamboyancy of old Analepsy with the snare abuse and neanderthalic glee of Epicardiectomy, Emanations of Unconscious Luminescence wastes no time severing vertebrae and reducing eardrums to paste. Don’t mistake this for a brainless, caveman assault, however. Peppered between the hammiest of hammers are tech flourishes pulled straight from Dingir era <a href="https://www.angrymetalguy.com/rings-saturn-lugal-ki-en-review/" rel="nofollow noopener" target="_blank">Rings of Saturn</a>, adding an unexpected technical edge to the blunt force trauma. The production manages to pair these two disparaging elements with lethal efficiency. Is it the techiest slam album, or the wettest, greasiest tech album? Did I mention there’s a super moldy cover of <a href="https://www.angrymetalguy.com/devourment-obscene-majesty-review/" rel="nofollow noopener" target="_blank">Devourment</a>‘s “Molesting the Decapitated”? It slots right into the albums flow without feeling like a tacked-on bonus track, highlighting Theurgy’s commitment to the homicidal odes of brutality. Throw in a vocal performance that makes Angel Ochoa (Abominable Putridity) sound like Anders Fridén (<a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">In </a><a href="https://www.angrymetalguy.com/in-flames-foregone-review/" rel="nofollow noopener" target="_blank">Flames</a>), and you’re left with one last lethal assault to round out the year. Dive in and give your luminescence something to cry about. GardensTale’s Great Glacier<a href="https://www.facebook.com/GhostsofGlaciers/" rel="nofollow noopener" target="_blank">Ghosts of Glaciers</a> // Eternal [October 25th, 2024 – <a href="https://translationloss.com/" rel="nofollow noopener" target="_blank">Translation Loss Records</a>]Ghosts of Glaciers’s last release, The Greatest Burden, was a masterclass of post-metal flow and has become a mainstay in my instrumental metal collection since <a href="https://www.angrymetalguy.com/ghosts-of-glaciers-the-greatest-burden-review/" rel="nofollow noopener" target="_blank">my review</a> in 2019. Dropping in tandem with several other high-profile releases, though, I could not give its follow-up the kind of attention it deserves. And make no mistake, it absolutely deserves that attention. The opening duo, “The Vast Expanse” and “Sunken Chamber,” measure up fully to The Greatest Burden, though it takes a few spins for that to become clear. Both use repetitive patterns more than before, but closer listens reveal how subtle variations and evolution of each cycle build gradual tension, so the release becomes all the more satisfying. I’m a little more ambivalent on the back half of Eternal, though. “Leviathan” packs a bigger punch than more of the band’s material, it lacks the swirling and sweeping currents that pull me under and demand full and uninterrupted plays every time. Closer “Regeneratio Aeterna” is a pretty but rather demure piece that lasts a bit longer than it should have. But despite these reservations, the great material outstrips the merely good, and Eternal is a worthwhile addition to any instrumental metal collection.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ainsi-finit-le-jour/" target="_blank">#AinsiFinitLeJour</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/analepsy/" target="_blank">#Analepsy</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/annihilist/" target="_blank">#Annihilist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" 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Angry Metal Guy<a href="https://www.angrymetalguy.com/stuck-in-the-filter-july-2024s-angry-misses/" rel="nofollow noopener" target="_blank">Stuck in the Filter: July 2024’s Angry Misses</a>By KenstrosityAfter the tight lineup we cobbled together for June, July provided a similarly lean yield for our team to offer the masses. It appears that my minions responsible for scraping the channels clean have become far too efficient! That said, what we did find might be our most valuable haul yet this year.And so, we persist. Always dedicated to bringing you the not-quite-best-but-also-still-good two months ago or so had to offer, we scour for little nuggets worth inspecting. What more could an Angry Metal Fan ask for? Kenstrosity’s Cataclysmic Critters <a href="https://awakeinprovidence.com/" rel="nofollow noopener" target="_blank">A Wake in Providence</a> // I Write to You, My Darling Decay [July 26th, 2024 – <a href="https://www.uniqueleader.com/" rel="nofollow noopener" target="_blank">Unique Leader Records</a>]Staten Island symphonic deathcore collective A Wake in Providence dropped a considerable payload back in 2022 entitled Eternity. Opulent and catastrophically heavy, Eternity bathed me in rich orchestration and legitimate riffs instead of stereotypical breakdowns and unending single-chord chugfests. Needless to say, I was enamored. Follow-up I Write to You, Darling Decay represents a deathcore equivalent to Fleshgod Apocalypse’s <a href="https://www.angrymetalguy.com/fleshgod-apocalypse-opera-review/" rel="nofollow noopener" target="_blank">Opera</a>, focusing more on lyrical storytelling and implementing vocal diversification as a vehicle for character development. Perhaps not quite as sophisticated— since those meatheaded, muscular chugs of the deathcore world still crop up here and there—I Write to You still offers major hooks and delectable detailing to keep my interest piqued through a full hour of new material (“Mournful Benediction,” “Agonofinis,” title track, “The Unbound,” and “Pareidolia”). Aside from those superficial qualities, I Write to You’s real selling point is album cohesion and overall fit and finish. Like a babbling brook across the smoothest bed of sand and soil, this record flows with a fluidity rarified in the genre (check out the awesome three-song transition between “Agonofris” and “In Whispers”). Combine that with a textured and multifaceted musical progression through a grief-stricken storyline, and you have a winning formula for an engaging record that earns its epic sound.<a href="https://cellandvoid.bandcamp.com/" rel="nofollow noopener" target="_blank">Cell</a> // Shattering the Rapture of the Primordial Abyss [July 12th, 2024 – Self Release]I first encountered Canadian black metallers Cell on a little Bandcamp stroll years ago, followed shortly by a breezy and brutal beach set just before 2020’s 70,000 Tons of Metal cruise. Nobody I knew had heard of them then, but I knew they had chops. With third album Shattering the Rapture of the Primordial Abyss, they’ve proven me right and then some. Combining icy Immortalisms with the chunky buzz of old school death, major bangers “Waking of the Blazing Night,” “The Plight of Council Skaljdrum,” “Drink the Sun,” “Unification of the Last Alliance,” and “Return of Tranquility through the Desolation of Truth” represent the sharpest, hookiest, and heaviest material Cell’s put down to date. Fury and fire characterize every riff, lead, and blast on Shattering the Rapture, but it’s the uncanny sense of groove that suddenly springs from Cell’s cells that takes this record within a stone’s throw of greatness. Tightening up the overlong fragments that bloat otherwise solid tracks like “Serenity in Darkness… Evermore” and closer “Carnage from the Sky” would go along way to throwing that stone past that threshold. Until then, rest assured that Rapture of the Primordial Abyss is a ripper, worthy of your time and your spine.<a href="https://dehumanaut.bandcamp.com/" rel="nofollow noopener" target="_blank">Dehumanaut</a> // Of Nightmares and Vice [July 17th, 2024 – Self Release]Just like Cell, Dehumanaut entered my rotation thanks to a serendipitous stroll through the Bandcamp ticker. Boasting a unique blend of death metal, thrash, and bluesy bar-crawl hard rock, these Brits offer something novel to the extreme metal catalog. With sophomore effort, Of Nightmares and Vice, Dehumanaut double down on the death and blues, evoking <a href="https://www.angrymetalguy.com/yer-metal-olde-entombed-left-hand-path/" rel="nofollow noopener" target="_blank">Entombed</a>‘s Wolverine Blues in spirit as much as in execution. With swinging tracks like “Shred this Reality,” “A Perilous Path,” “Battle Weary,” “Epiphanies,” and “Black City” deftly stepping between deathly riffs and danceable grooves, thrashier cuts such as “Reject the Knife,” “Nexus of Decline” and “A Truth Most Foul,” and “It Has a Name” feel even speedier and more rabid than usual. Aside from affording Of Nightmares and Vice oodles of dynamics in songwriting, this multifaceted and structured approach to genre-bending showcases Dehumanaut’s versatility as musicians. Everything they attempt here feels effortless and reflexive, making every transition between measure and phrase not just purposeful but also buttery-smooth (“Battle Weary”). If it weren’t for a bit of bloat across the board, oddly muffled mixing, and somewhat flat death metal growls, Of Nightmares and Vice would be in play among my top records of July. Even still, it comes close! Saunders’ Salacious Slams<a href="https://www.facebook.com/CephalotripsyOfficial/" rel="nofollow noopener" target="_blank">Cephalotripsy </a> // <a href="https://cephalotripsy.bandcamp.com/" rel="nofollow noopener" target="_blank">Epigenetic Neurogenesis</a> [July 13th, 2024 – <a href="https://cephalotripsy.bandcamp.com/album/epigenetic-neurogenesis" rel="nofollow noopener" target="_blank">Self-Release</a> ]Looking for something so stupidly heavy and obnoxiously brutal that listening could kill brain cells and incite a rampage? California’s underground warriors Cephalotripsy have you covered on long-awaited sophomore album, and follow-up to 2007’s cult and apparently well received debut, Uterovaginal Insertion of Extirpated Anomalies. Unfamiliar with their previous output, I stumbled across this latest endeavor through a trusted recommendation, fulfilling my fix for devastatingly brutal slam death. Epigenetic Neurogenesis takes no prisoners and delivers blow after blow of steamrolling, pugnacious brutal death. Brimming with inhuman, sewer dwelling vocal eruptions of Angel Ochoa (Abominable Putridity), hammering percussion, and an onslaught of ridiculously thick, heavy riffs, exhibiting the sharp, technical skills of veteran brutal death axe wielder and long-term member Andrés Guzman. The newer members form a pummeling rhythm section driving the guttural swarm. Weighing in at a tight and efficient 32 minutes, the beatdown is relentless, though concise enough to avoid an early burn out. The songwriting doesn’t reinvent the brutal slam death wheel. However, the tight execution, dynamic tempo shifts, and memorable riffcraft elevates the material. Viscous, cranium crushing riffs and utterly devastating slams frequently deployed adds further grunt, immense weight and memorability on a set of killer tunes, including extra chunky gems “Alpha Terrestrial Polymorph,” ” Lo Tech Non Entity,” and “Excision of Self.” Nasty, crushing stuff. Dear Hollow’s Disturbing Dump Silvaplana // <a href="https://silvaplana.bandcamp.com/album/sils-maria" rel="nofollow noopener" target="_blank">Sils Maria </a>| <a href="https://silvaplana.bandcamp.com/album/limbs-of-dionysus" rel="nofollow noopener" target="_blank">Limbs of Dionysus</a> [July 17th, 2024 – Self-Release]Although shrouded in mystery, Silvaplana is a solo project of Alex DeMaria of <a href="https://www.angrymetalguy.com/yellow-eyes-rare-field-ceiling-review/" rel="nofollow noopener" target="_blank">Yellow Eyes</a> and <a href="https://www.angrymetalguy.com/anicon-entropy-mantra-review/" rel="nofollow noopener" target="_blank">Anicon</a>. Blackened punishment paired with atmosphere have long been the aim, but Silvaplana’s duel release finds duality: both take influence from parent releases separately. Sils Maria takes on a hyper-atmospheric, classically influenced, and dark ambient approach across six tracks and forty-one minutes, blackened blastbeats and distant shrieks hidden behind thick swaths of ambiance, organ, and piano, a relatively gentle affair that recalls the wild yet placid sounds of Yellow Eyes’ latest. Meanwhile, the two-track and also forty-one minutes of Limbs of Dionysus feeds a ritualistic fire with a scathingly raw black attack, reverb-laden growls, moans, and shrieks colliding with relentless tremolo that continuously scale minor and diminished frostbitten mountaintops with reckless abandon. Both seem entirely disparate in context to one another, but smartly they are held together by the thin thread of melodic motifs. The organ that populates Sils Maria’s tracks “II,” “IV” and “VI” are recalled in the closing remarks of “I” in Limbs of Dionysus; the ominous organ trills of the former’s “III” are warped into a blackened beast in the latter’s “II.” As Limbs of Dionysus concludes, the feedback-laden plucking feeds right into the morphing plucking populating the beginning of Sils Maria – an ouroboros of the blackened arts. Silvaplana exists on both self-indulgent and decadent ends of the blackened spectrum with Sils Maria and Limbs of Dionysus, both baffling and tantalizing in their rawness and ambiance, and otherworldly in their collaboration. Dolphin Whisperer’s Inconspicuous Import<a href="https://www.facebook.com/p/Quasidiploid-100069571441927/" rel="nofollow noopener" target="_blank">Quasidiploid</a> // Deconstruction [July 1st, 2024 – <a href="https://www.amputatedvein.com/shop/cart.cgi?avr01=016044" rel="nofollow noopener" target="_blank">Amputated Vein Records</a>]Do you see that cover art? Yes, it’s some sort of countess of the undead summoning the skull-kind with a horn. Would you believe then that one of the features throughout Deconstruction is its inclusion of a female trumpet player to break up the tension of a relentless, brutal technical death metal? Oh yeah, she’s also the vocalist and possesses a vicious guttural bark, shrill and penetrating squeals and hisses (the vocal intro on “Disasters and Infection Routes” is a straight Dir en grey moment), and a higher register manic collapse that features at key moments. That’s all to say that the cover lands a bit on the nose, but, in turn, the carnival crazed whiplash of Quasidiploid swings between brutal <a href="https://www.angrymetalguy.com/cryptopsy-as-gomorrah-burns-review/" rel="nofollow noopener" target="_blank">Cryptopsy</a> riff smashing, Pat Martino jazz guitar pleasantries, Necrophagist sweep punishing, and Chuck Mangione brass crooning (“Overture”)—unhinged, unbothered, and anything but accessible. I would call it too unpolished, as Deconstruction strikes with a bit of a demo quality. But sometimes we have to ask ourselves whether what we hear is a questionably processed demo or an intentionally shredded Japanese master? In any case virtuosity reigns as provably human skin slammer Vomiken pushes a bass-loaded kick and a high-crunch kit to abusive and enthralling accelerations only to crash in on the spurt of a forlorn trumpet or flourish of a prancing guitar line (“Brutal Strafing,” “Massacre Fantasy”). Guitar lines weave about traditionally nimble sweeps to tricky meter riff crushes on a dime (“Melodies of Distorted Time and Space,” “Disasters…”). Tonal identities flip between <a href="https://www.angrymetalguy.com/nile-the-underworld-awaits-us-all-review/" rel="nofollow noopener" target="_blank">Nile</a>-istic, snaking melodies, flippant yet tasteful guitar heroics, and propulsive rhythm blasts whose only break is the close of a song. The definition of something olde, new, borrowed, and blue, Quasidiploid has come from far left field to provide a classics-inspired but funky fresh version of an extreme genre that thrives exactly on this kind of weird—a curiosity now, but with all the makings of something truly explosive to come. Mark Z.’s Musings<a href="https://www.facebook.com/200StabWounds/?eid=ARBzEfZwmKJ_MAFrLvTQdr10_TXxRAnHrddQRVrqDHMl8QhP3g6RtNZGqAwezHu04lLHarCWUER0q_m3&fref=tag" rel="nofollow noopener" target="_blank">200 Stab Wounds</a> // Manual Manic Procedures [June 28th, 2024 – <a href="https://www.metalblade.com/us/" rel="nofollow noopener" target="_blank">Metal Blade Records</a>]Following a rapid rise to fame during the first few months of the COVID-19 pandemic, Ohio death metal troupe 200 Stab Wounds thrust their <a href="https://www.angrymetalguy.com/200-stab-wounds-slave-to-the-scalpel-review/" rel="nofollow noopener" target="_blank">Slave to the Scalpel</a> debut onto the masses in 2021. While I was about as mixed on that one as Felagund was, their second album Manual Manic Procedures has proven these wounds cut far deeper than originally thought. The massive beefy chugs that the band have become known for are still here in full force, but now they’re paired with sharper hooks and a heightened sense of maturity. On Procedures, you’ll hear acoustic plucking, immense Bolt Thower riffing, grooves that will blow your guts out, and even some melodic death metal influence—and that’s just on the first song. The band also know when to give you a breather, be it a well-placed atmospheric instrumental (“Led to the Chamber / Liquefied”) or an extended ride on a great groovy riff (“Defiled Gestation”). With a monstrous guitar tone, plenty of killer moments, and a track flow that’s smoother than liquefied human remains sliding off a kitchen counter, these Cleveland boys have given us a record that truly feels like modern death metal coming into its own.<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/200-stab-wounds/" target="_blank">#200StabWounds</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/a-wake-in-providence/" target="_blank">#AWakeInProvidence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" 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Angry Metal Guy<a href="https://www.angrymetalguy.com/corpsefucking-art-tomatized-review/" rel="nofollow noopener" target="_blank">Corpsefucking Art – Tomatized Review</a>By Dear HollowThere are albums that choose you, and Corpsefucking Art chose me. Even for a band known for their comedy, Tomatized surprised me. There are certain subjects you cover for a brutal death/slam/goregrind band, with plenty of gore and torment populating its lyric sheets – even if the pig-squealed “EEEEEEEE” is the only thing you hear. Tomatized has all that and a Lovecraftian vibe: “Earth shall be ruled by a new breed of sentient beings!” the promo proudly proclaims. Okay, sentient beings dethroning humanity isn’t too odd for death metal. “Behold the kingdom of cyclopic tomatoes!” Wait, what?Italy’s Corpsefucking Art has been around in some form or another since 1993. While earlier works were run-of-the-bloody-mill gorefests of grimy brutal death, it wasn’t until 2003’s Splatter Deluxe that they cut out the gravy and derailed into goofy territory.<a href="https://www.angrymetalguy.com/corpsefucking-art-tomatized-review/#fn-203740-1" rel="nofollow noopener" target="_blank">1</a> Likewise, the idea of sentient “tomators” overthrowing humanity dates back to the song “Voracious Tomatoes” from 2014’s Quel Cimitero Accanto Alla Villa. So really, I shouldn’t have been surprised by Tomatized, but don’t let tomatoes distract you from the fact that Corpsefucking Art hits with a sloppy megaton groove that’ll get your head bobbing sometimes. Bottom-scraping growls, downtuned riffs, plodding drumming – it sure is there. And nothing else.Corpsefucking Art’s breed of goregrind/brutal death metal is about as bare bones as you get. There’s no technicality, no variation to the commanding roar – all in favor of the groove. Tracks like “Hell of the Living Dead,” “Phantasm” and “The Book of the Dead” all feature curb-stomping riffs with a hint of slam that recall the reasons you started listening to Carcass or Cannibal Corpse, while more blazing tremolo populates “Alien vs. Tomator” and “A Nightmare on Tomato Street.” For better or for worse, Tomatized is a remarkably straightforward, knuckle-dragging goregrind affair that offers no technicality or variation. While offering absolutely nothing to the most seasoned listeners and brutal death newcomers alike, something is refreshing about its dumb simplicity.<a href="https://www.angrymetalguy.com/corpsefucking-art-tomatized-review/#fn-203740-2" rel="nofollow noopener" target="_blank">2</a> The shifty rhythm in “The Book of the Dead” and layered harmony of “Escape from Alpha City” add a brief jolt of energy, while the ambient interlude spoken word and horror audio segment in “Dead Sushi” is a reprieve, if not a cringeworthy one.Even for its brief thirty-minute runtime, Corpsefucking Art starts sounding ridiculously tired early on. While it features dummy thicc guitar, that’s about all it’s got. Every track features some variation of the same three Carcass riffs and chord progressions with death growls exclusively dominating the proceedings, lacking variety or charisma. The guitars, despite their proclamation of slimy, still feel sterile and over-produced. I also never thought I would say that I wished Tomatized had pong, but here we are, because the dull “thunk” of the snare gets lost immediately in the sea of tomato-infested booty riffs. It feels like a joke; it’s a fun sound you can trap your friend into listening to an album about sentient tomatoes, but the novelty wears off almost immediately. Tracks sound identical thanks to its monotonal palette, leaning too much on the tomato-themed theme and robbing Corpsefucking Art of the opportunity to prove their versatility after over thirty years of experience.Tomatized is the audio equivalent of mixing tomato paste and water and calling it marinara.<a href="https://www.angrymetalguy.com/corpsefucking-art-tomatized-review/#fn-203740-3" rel="nofollow noopener" target="_blank">3</a> Corpsefucking Art sure is brutal and they can groove, but repeated spins poke holes in the sound. It’s about as exciting as early Abominable Putridity, Fatuous Rump, or Devangelic: flaunting that knuckle-dragging groove but lacking the technicality, variation, or songwriting chops to support it. The comedy is a nice change-up from the semi-serious barbarity of the style, but that doesn’t mean much. Tomatized is about tomatoes that dethrone mankind, but Corpsefucking Art ain’t dethroning goregrind, brutal death, or slam royalty anytime soon. Rating: 1.5/5.0 DR: 5 | Format Reviewed: 320 kbps mp3 Label: <a href="https://www.comatosemusic.com/store/" rel="nofollow noopener" target="_blank">Comatose Music</a> Website: <a href="https://www.facebook.com/sachertorture/" rel="nofollow noopener" target="_blank">facebook.com/corpseeffingart</a> Releases Worldwide: October 4th, 2024<a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/1-0/" target="_blank">#10</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/abominable-putridity/" target="_blank">#AbominablePutridity</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/brutal-death-metal/" target="_blank">#BrutalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cannibal-corpse/" target="_blank">#CannibalCorpse</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/carcass/" target="_blank">#Carcass</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/comatose-music/" target="_blank">#ComatoseMusic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/corpsefucking-art/" target="_blank">#CorpsefuckingArt</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/devangelic/" target="_blank">#Devangelic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/fatuous-rump/" target="_blank">#FatuousRump</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/goregrind/" target="_blank">#Goregrind</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/italian-metal/" target="_blank">#ItalianMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/oct24/" target="_blank">#Oct24</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/slam-death-metal/" target="_blank">#SlamDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/tomatized/" target="_blank">#Tomatized</a>

Halbeard<a href="https://metalhead.club/tags/weeklylastfm" class="mention hashtag" rel="nofollow noopener" target="_blank">#weeklylastfm</a> for week 9 of 2021new album releases by <a href="https://metalhead.club/tags/H%C3%A6nesy" class="mention hashtag" rel="nofollow noopener" target="_blank">#Hænesy</a>, <a href="https://metalhead.club/tags/AbominablePutridity" class="mention hashtag" rel="nofollow noopener" target="_blank">#AbominablePutridity</a> and <a href="https://metalhead.club/tags/Downcross" class="mention hashtag" rel="nofollow noopener" target="_blank">#Downcross</a>. Also discovered the <a href="https://metalhead.club/tags/A%C5%ABkels" class="mention hashtag" rel="nofollow noopener" target="_blank">#Aūkels</a> debut only a week after releaseTop 8 weekly artists for Halbeard 1. Hænesy (30 plays) 2. Korgonthurus (18 plays) 3. Barathrum (16 plays) 4. Graupel (15 plays) 5. Aūkels (11 plays) 6. Ferriterium (11 plays) 7. Abominable Putridity (9 plays) 8. Ahab (9 plays) 43 different artists in this time period

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