Posts Tagged ‘dying fetus’
Friday, February 22nd, 2013
Conceived in Sewage ( Relapse Records)
This is the fourth album to date from DEVOURMENT and it is excellent! With nine tracks clocking in at just over thirty five minutes, there is no fooling around. ERIK RUTAN (Mana Recording Studios) does a masterful job with the production of this album, making it the band’s best sounding in their seventeen plus year career. The cover art by COKI GREENWAY makes me want to but that shirt right now. Seriously, the cover art alone is worth the price of admission.
This album starts off with one of the finest guttural wails I’ve heard in a while. Vocalist RUBEN ROSAS really shines with his powerful phrasing and a strong clarity in his growls. With songs like “Fucked with Rats” and “Heaving Acid”, his voice at times reminds me of DYING FETUS but that’s not a bad thing at all. There’s a lot of well placed blasting all over the record thanks to ERIK PARKS drumming. On “Fifty Ton War Machine” his playing just makes me smile. “Today We Die, Tomorrow We Kill” is just insanely good. It’s my favorite song on here. CHRIS ANDREWS (bass) has a massive presence on this album also. On opening track “Legalize Homicide” he busts out the album’s only solo type part. Guitarist MIKE MAJEWSKI simply shreds on “Parasitic Eruption” and the title track “Conceived in Sewage” has a tone on here that’s very distinct.
DEVOURMENT doesn’t just stick to one style of death metal, they keep mixing it up. There isn’t one song or point on here where it starts to feel boring. They even have an a killer interlude with “March to Meggiddo”. My only complaint if you can call it that, is “Carved in Ecstasy” should have been the closing track. It has one of those sludgey endings I really dig. This album has good everything: performances, songs, mixing and cover art. I wish they were playing a show tonight.
 DEVOURMENT turns in (maybe) the best album of their career.
GRADE: B+
Omar “@Ojayy666” Cordy
Tags: art by COKI GREENWAY, bassist CHRIS ANDREWS, Conceived in Sewage, Death Metal, Devourment, drummer ERIK PARKS, dying fetus, erik rutan, Grindcore, Guitarist MIKE MAJEWSKI, Relapse Records, reviews by Omar “Ojayy666” Cordy, tech death, The Metal Army Blog, vocalist RUBEN ROSAS
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Friday, December 21st, 2012
Here is Keefy’s final Top Ten from his overall Top 40 Metal Albums of 2012 list! Enjoy!
#10. CRYPTOPSY- Cryptopsy (Self Released)
To paraphrase comedian Chris Rock, I’m tired of apologizing for CRYPTOPSY. I was in the minority among people when I loved The Unspoken King. I’m sure as people are reading this; they are scratching their heads again. No matter, CRYPTOPSY has silenced all their critics with an album that matches the best work of their career. A brutal slab of technical death metal on every level the album is great for all the reasons that made the band stellar in the first place. Obviously, people talk about the inhuman level of Drummer FLO MOUNIER. However, the real strength of the band is returning guitarist and writer JON LEVASSEUR and mainstay guitarist/uber producer CHRISITAN DONALDSON. The songs they wrote are superb. I was nervous about Oliver Pinard being able to replace ERIC LANGLOIS on bass, but even he was great too! Lastly, MATT MCGATCHY‘s performance provides the shut the fuck up moment of the year to all the haters. Well done sirs!
#9. PRONG- Carved Into Stone (Long Branch Records/SPV)
I thought my birthday came early this year when PRONG’s new album came out. PRONG has always been one of my favorite bands and all of their recorded output has been always been strong. Carved Into Stone is actually the bands best album since 1996′s Rude Awakening. Not only is the album full of sick tunes, but over the top, guitar playing in general is terrific. TOMMY VICTOR (DANZIG, MINISTRY) has been known for two things in his career: great songs and being a riff master general. The album displays an unexpected depth for any record in 2012. Packed with just the right touch of technical mastery and catchy songwriting to please and the hardcore soul, which hearkens back to Tommy’s NYC metal roots. The performances from TONY CAMPOS (SOULFLY/ MINISTRY/STATIC-X/ASESINO/POSSESSED/OTEP) and ALEXI RODRIGUEZ (ex-3 INCHES OF BLOOD) are matched perfectly too, making this one of the baddest power trio’s around.
#8. GOJIRA – L’Enfant Sauvage (Roadrunner)
GOJIRA albums, when they come out, are an event. The metal world waits with baited breath and the results are always stellar. Armed with a new deal from Roadrunner, the band put out L’Enfant Sauvage over the summer to roars of approval. Perhaps, even I was too cynical to believe that GOJIRA would continue to get increasingly popular as they stayed true to who they were? L’Enfant Sauvage is a great blend of the Progressive Rock/Metal, Tech Death, old-school Death Metal and Thrash influences they are known for. Then there is their subject matter: they are one of the most thoughtful and socially conscious bands around, lyrically. The album hits the right mood on every level, every time and has the musical confidence of a band much more senior in years. Songs like “Explosia”, “The Axe” and “Liquid Fire” are going to be talked about in metal head circles for years to come.
#7. CANNIBAL CORPSE- Torture (Metal Blade)
Like a beautifully marbled steak or a legendary work of art, CANNIBAL CORPSE truly does get better with age. It seems likely that much like SLAYER, the death metal godfathers will keep right on trucking on to oblivion, making skull splitting, gore filled albums for as long as they can. Torture is perfect in every way and all of the things you love about the band are in the mix. Perhaps due to being the most collaborative written album in the bands history, the sound from song to song is quite eclectic. Not like Dubstep, power-ballad eclectic, mind you, but the band has figured out how to blend different song styles seamlessly. Inventive new chord structures and riffs, hard to fathom bass lines and stupendous drumming are all topped off by GEORGE “CORPSEGRINDER” FISHER‘s impeccable voice from hell. Plus, don’t forget the grooves. Oh those crushing grooves! Nobody writes a grooving-ass, brutal riff better than ALEX WEBSTER. The band continues to be the yard stick by which all death metal music and consequently, all death metal bands are measured.
#6. C.O.C. – C.O.C. (Candlelight)
That C.O.C. was able to make a comeback as a trio at this point in their career is not a surprise. The fact that they reunited to make an amazing album is not even a question. What I am surprised by, is that it seems like the rest of the world has caught up to the sound of the band and the love from fans and the press is over flowing. When last we saw C.O.C. as a trio it was the 80s and they were mostly an underground phenomenon. Lots of bands like to say they were influenced by the Sludgy, Crossover Doom masters, but in this age of the Internet; flattery goes a long way to help a new bands rep.To hear WOODY WEATHERMAN tell it, the reunion circuit was totally un-interesting to the band, unless they were gonna make new music. C.O.C., the album has more quality and vitality than many of the upstarts of the genre they helped put on the map. MIKE DEAN‘s bass is full of fuzz and style; Woody‘s soloing is on fire and REED MULLEN, back for the first time in over decade, drums and sings like a man possessed. Let us not forget the poignant political lyrics, much welcomed in these troublesome times of a divided America. You might say the metal world needed C.O.C. to come back, as much as they needed to make a comeback themselves.
#5. MESHUGGAH- Koloss (Nuclear Blast)
What can you say about MESHUGGAH that hasn’t been said already? It’s not hard to run out of superlatives when talking about the most influential metal band of the last fifteen years. Whether Koloss was going to be great or not was likely not debatable. What was up for grabs, was what direction these geniuses would take the iconic music we have all come to expect. The results were stunning. Can you change things up, and still be the same band? By definition no, but that is MESHUGGAH for you. Koloss is a collection of songs much like the rest of the bands’ storied catalog: brutal, and complex. Most of the songs feature a pulsing groove that has come to the fore in the bands work of late. Every beat and riff is a maelstrom of twisting delight, overlapping time signatures and finger-defying licks galore. Most of all, the album sets another technical high water-mark for guitarist FREDRICK THORDENDAL and drummer TOMAS HAAKE.
#4. TESTAMENT- Dark Roots Of Earth (Nuclear Blast)
The return of TESTAMENT to their former level of greatness is nothing short of a triumph for all of metal. 2008′s Formation of Damnation was an excellent comeback album, after almost a decade of no new music. In the interim years since getting back together, they have toured tirelessly around the world, reignited their chemistry and fulfilled the promise of their early career. Dark Roots of Earth takes the concept of the old-school Thrash style, added a modern sensibility and took it all one step further. Only EXODUS and ANTHRAX have been able to pull of the feat of making new music for modern ears, staying true to their past and begin able to add a level of panache. ERIC PETERSON finally got his dream come true by getting GENE HOGLAN to write and record drums for a TESTAMENT album. The unrelenting bottom end of the songs gives the band a new power they have never had. Every song is a gem. “Native Blood” is one of the catchiest, yet grooviest songs I’ve heard in ages. The chorus is also the best of 2012. CHUCK BILLY‘s ageless voice carries the day and ALEX SKOLNICK displays the chops that verify his legions of fans. Even GREG CHRISTIAN is heard from, with some excellent bass lines. Dark Roots of Earth is all killer and positively no filler.
#3. BARONESS- Yellow And Green (Relapse)
One of the most anticipated albums of 2012 did not disappoint when BARONESS dropped the latest in their color-themed recent discography. The band made no pretense that this album would be not be metal and frankly, that was OK by me. If you have been following the band, they have been less concerned with the trappings of fitting in, in their career up to this point. They instead stayed true to their artistic authenticity. What BARONESS delivered is a double-album of incredible songs, displaying great chops and the best dynamics overall of any album on this list. Some of the songs are quite heavy, but more often than not, that heaviness never came the expense of melodies or tones. “Take My Bones Away” was my out and out favorite song of the entire year. “March To The Sea” was another stone cold rocker, the likes that haven’t been heard since the heyday of QUEEN or THIN LIZZY. Some of the best moments are the most unexpected ones; like the freak-out synth work in “Cocanium”. All of the keyboard work is stellar as is the bass playing, which band leader John Baizley played all of too. “Back Where I Belong”, “Eula” and “Board Up The House” will also rank at the top of the bands’ song book for years to come. The “Green” side of the double set is equally tuneful and more mellow, but no less mint song-craft wise. Finally, tying it all together is the brilliant cover artwork, the years’ best; also by Baizley once again.
#2. DYING FETUS- Reign Supreme (Relapse)
DYING FETUS is such a great band in its current incarnation that one almost forgets there were entire years in their history marked by upheavals and departures. The present day lineup has been intact since 2007 and the comfort level they have together creating the most brutal Death Metal possibly known to man is sky high. Through it all, JOHN GALLAGHER has been the one constant: constantly growing as a guitarist and writer and constantly writing pissed the fuck off, baffling and sick lyrics. Reign Supreme might be remembered years from now as one of the top three releases of the bands’ career with its non-stop violence inspired songs. GALLAGHER and his p-i-c SEAN BEASLEY crush it out of the park on the guttural vocals. Beasley, who was always an underrated bassist for the genre, plays some of the best passages ever recorded for the instrument in the context of technical death metal. TREY WILLIAMS also one-ups his performance from Descend Into Depravity, being a might less technical, but still precise as fuck and bludgeoning as all hell. His blasts are far and away my favorite of any drummer on album this entire year. The album is a masterpiece of death metal brilliance, and that is really saying something considering how deep the sub-genre is these days.
#1. IHSAHN- Eremita (Candlelight)
In what was a high quality year at the top of the heap of metal music, IHSAHN‘s fourth solo outing is my choice for the album of the year. It’s not the sexy choice compared with typical years past, but it is the best choice, by far. Eremita is a sprawling, ambitious album full of musical twists and turns, yet perfectly coalescing into a sensible piece of art. In an interview I conducted with him for Metal Army he talked about the creative process as a continual evolution, a death followed by a rebirth. That would just begin to cover the emotional and lyrical depth in the music. In many ways, this is the album that IHSAHN, famously known as the legendary front man of EMPEROR, has been building up to for his entire career. His mastery as a composer, guitarist, vocalist and lyricist is without equal at this point in his career. Musically the songs cover the gamut of emotions and styles and reveal a complexity that mirrors the artist himself. Songs like “Arrival”, “The Paranoid”, “Something Out There”, “The Eagle And The Snake” and “Departure” are among the best of the year. Topping off the package are the guest performances by the likes of DEVIN TOWNSEND, JEFF LOOMIS, EINAR SOLBERG (LEPROUS), JEFF MUNKENBY on sax and IHSAHN’s wife HEIDI S. TVEITEN‘s enchanting vocal turns, which sends the quality of the album into the stratosphere.
 Genius level achieved. KEEFY PREVIOUS TOP METAL ALBUMS OF THE YEAR
2011: TOMBS- Path of Totality
2010: EXODUS: Exhibit B
2009: MASTODON: Crack The Skye
2008: OPETH: Watershed
2007: MACHINE HEAD: The Blackening
2006: MASTODON: Blood Mountain
2005: MESHUGGAH: Catch Thirty-Three
2004: MACHINE HEAD: Through The Ashes Of Empires
Tags: 3 Inches of Blood, alex skolnick, Alex Webster, Alexi Rodriguez, Anthrax, Asesino, Avant Garde, Baroness, C.O.C., Candlelight, Cannibal Corpse, Carved Into Stone, chuck billy, cryptopsy, Danzig, Dark Roots Of Earth, death, Death Metal, descend into depravity, Devin Townsend, djent, doom, Drummer FLO MOUNIER, drummer/vocalist REED MULLEN, dying fetus, EINAR SOLBERG, emperor, EREMITA, eric peterson, EXODUS, FREDRICK THORDENDAL, Gene Hoglan, George "Corpsegrinder" Fisher, Gojira, GREG CHRISTIAN, guitarist JON LEVASSEUR, guitarist/uber producer CHRISITAN DONALDSON, HEIDI S. TVEITEN, Ihsahn, Jeff Loomis, JEFF MUNKENBY, John Gallagher, Koloss, leprous, Long Branch Records, L’Enfant Sauvage, MATT MCGATCHY, Meshuggah, METAL BLADE, mike dean, Ministry, Nuclear Blast, Otep, Possessed, power groove, prog, Prog Metal, Proggressive Death Metal, Prong, Queen, reign supreme, reviews by Keefy, roadrunner, rock, SEAN BEASLEY, slayer, sludge, Soulfly, spv, Static-X, tech death, testament, Thin Lizzy, Thrash Metal, Tomas Haake, Tommy Victor, Tony Campos, Top Albums, Top Ten Metal Albums of 2012, Torture, Trey Williams, woody weatherman, Year End Best Metal Album Lists, Yellow and Green, “Native Blood”
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Thursday, July 12th, 2012
Sloppy Seconds (Comatose Music)
SEXCREMENT’S new album Sloppy Seconds from Comatose Music is a solid production. Mixed wonderfully by fellow Massachusetts musician Eliot Bayless (REVOCATION), it’s not too clean. You can hear dirt on it that adds to the party vibe of it. At first listen, these Boston boys reminded me a lot of the old Maryland boys DYING FETUS’s early efforts with some CARCASS melodies and harmonies sprinkled on top. Their über-sarcastic song titles are only part of the fun. With songs like “Heard it Though the Rape Vine” and “Well Hungover”, I was expecting parody. Thankfully it wasn’t the case here. They even manage to toss in a little bit of cowbell and it fits perfectly.
These guys are all good players, but the bassist Blue Spinazola (DYSENTERY/PARASITIC EXTIRPATION), stands out the most. It’s always nice to hear interesting bass in this type of music. You can hear a little taste in the second song, “Chemical Handcuffs”. Keep an eye on that guy, he’s the bands’ secret weapon. The song intros are really funny and make you guess what they’re gonna do next. They give you the standard death metal basics, but include some non-typical breakdown sections as well. This means really good, odd-time signatures. I found this album highly listenable and I’ll probably look for their first release from 2007, Genitales from the Porno Potty too. If your up in Boston or they’re playing your way, I say go check them out. If they can pull off live the energy they capture on here, you won’t be disappointed.
 SEXCREMENT: Some bands’ photos look like they ought to be memes. GRADE: B
Ojayy Cordy
Tags: bassist Blue Spinazola, Boston Metal, carcass, Comatose Music, Death Metal, dying fetus, DYSENTERY, Eliot Bayless, Genitales from the Porno Potty, humor, more cowbell, odd-time signatures, SEXCREMENT, Sloppy Seconds
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Friday, July 6th, 2012
Razorblade Express (PATAC Records)
Give them the Maryland seal of quality while the ink’s still wet, fellas, because that state can do no wrong as far as quality extreme music. From the Deathgrind virtuosos MISERY INDEX, to the indomitable DYING FETUS, and the fast growing Hardcore act COKE BUST, it’s safe to say that STRONG INTENTION will naturally follow suit and be awesome. the only thing I’d change about this release is the cover art, but that’s a rant I’ll save for someone more judgmental than I. SI have been around since the mid-nineties, but mysteriously haven’t gotten as big as their aforementioned contemporaries. Something went highly amiss, as their mixture of CHARLES BRONSON/SPAZZ style Powerviolence with the new-school Thrash sound that’d find a home on the latest TOXIC HOLOCAUST joint, alongside a hearty dose of Southern fried Sludge should have hooked this godless country by the nose.
This EP immediately opens up with its title track, a Sludgy number with Mike Williams of EYEHATEGOD infamy performing the bulk of the vocals. It dips in and out of a Thrashcore inflected MAGRUDERGRIND vibe, which is honestly something I didn’t think that Mike Williams would ever sign up for, being accustomed to muggy, heroin induced grooves that can only be properly born south of Virginia. Mike’s on top form as far as sounding angry and acrawl with various diseases, so this change of speed actually suits him, and I’d like to see him (and any other willing Southern Metal vocalists) try it more often.
“Messiah Whore” begins immediately with the musical equivalent of artillery rounds entering your home while you sleep. Here they also showcase a bit of Death Metal influence as well as their dirty brand of what I’ll dub Grindviolence, with punishing blasts and sporting a riff that sounds not unlike some I’ve heard on EXHUMED’s Anatomy Is The Destiny. The breakdown is highly reminiscent of some I’ve heard by MISERY INDEX, which is not odd, as bands in that area seem to swap sounds as bored teenagers sexually transmitted infections. A solid track overall, and probably one of the standouts.
“Holes In The Wall” boasts a more straightforward Crossover style; think of the vocalist of BANE if he jammed with the band members of PUNCH and MUNICIPAL WASTE. The riffs that kick in at the very end are probably the most melodic thing to happen on the album, as they point towards SI’s ability to lock into killer grooves. I was a bit sad to see this track end so abruptly, as it promised a bit more variation from a mental nailbombing, but instead leads to the next track.
Mike Williams appears also on “3rd Space Gorilla Generator”, which is a title that shall give me nightmares for years to come. Pure DADA. This one’s a bit more by the numbers Hardcore, with the vocals being more like Jay Randall of AGORAPHOBIC NOSEBLEED. Aside from a small Sludge section where Mike steps up to the mic to howl in pain, it’s pure circle-pit mayhem.
“Rat Factory” continues the vocal tradition of the last track, which gives me the impression that either the vocalist’s larynx morphed over the course of the EP, or someone else stepped in due to an unfortunate neck-related incident. Curious indeed. This track is the second shortest, but packes a helluva punch, with a breakdown at the end that could knock down buildings.
“Slaughter Intelligence” is quite similar to the last track, but ends much more abruptly at only 54 seconds as opposed to “Rat Factory”s even minute. It makes me almost go against my very instincts, which aren’t a fan of the slow, 3-4 minute down-tempo tracks that Hardcore influenced bands usually toss in, often at the end of their releases, but this band actually made me hunger for one. Yes, EPs are short, but this was almost demo length, and was the equivalent of being given a handy when you expected whole night in Paris. That was gross, and I sincerely apologize.
The Verdict: It becomes more of a teaser than an actual appetizer for an album, but overall it’s still a sweet treat from the balmy climes of Maryland.
GRADE: A-
Sean Genovese
Tags: Crust, death/grind, dying fetus, Grindcore, hardcore, misery index, patac records, powerviolence, sludge, spazz, STRONG INTENTION, toxic holocaust, www.metal-army.com
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Tuesday, June 19th, 2012
Reign Supreme (Relapse)
In a perfect world DYING FETUS would be a much bigger band than they are. Granted they didn’t pick a moniker when they were starting out based on commercial viability. Still, I used to get mad years ago when I would meet some fellow metal heads and they didn’t know this band to be one of the leaders of all of death metal. In the years that have passed since then DYING FETUS has continued to stay consistent and make great music, despite having to watch other bands rise in popularity, headline festivals and sell more records. Not that the band gives two shits about that either. They just do what they do year after year: they make some of the best, most brutal music on the planet.
I first heard “Invert The Idols” on the bands’ spring tour and it blew me away with it’s sick musician ship and speed. Consider this is one of the best bands in the genre and fast what they do naturally, and that prior statements gets some context. Right off the bat the production sounds miles better than their last album, which sounded pretty good. The drums sit in the pocket with all the sick vocals while guitar and bass sound evenly balanced and clear. Many death metal bands prefer crude production, but I have always appreciate that the FETUS guys are musicians who care about the how their albums sound. The opening sweep picking riff will take the wind out of you while you try to process it. The song is blisteringly fast and over in a blink at just over two minutes. Similarly “Subject to a Beating” is another mind-blowing blast-beat laden romp. This time both John Gallagher and Sean Beasley share the vocal leads and compliment each other like never before. They both veer back and forth between the growled indecipherable vocals and then clearer, understandable ones. Mostly, they use their voices as extra instruments like many vocalists in the style. Some of the riffs on the album pack in all types of scales and licks performed with a precision not usually possible at these inhuman speeds. Prog is not a word I tend to think of when discussing this band, but there are definite proggy moments on this album. As a trio they have never backed down from being great players. “Second Skin” is another fast crusher that has elements of music beyond standard death metal styles. This album has some excellent groove parts on it too, which the band hasn’t over-used like just about every other band. “From Womb to Waste” begins with what is surely the sample of 2012: “It’s not my fault I’m pregnant and I love drugs. Who cares? Fuck the baby. Let it die!”. The grinding beat of the song and the mean riffs give it a sinister, eerie effect. Drummer Trey Williams has been at the forefront of death drummers for ages, but doesn’t often get mentioned in the year end lists. He is tight at any tempo and whether it is using choice fills on slow beats or insanely fast parts, he is as strong on record as he is live. “Dissidence” sounds awesome with its manic opening and both vocalists unleashing a howling scream. The song is more like a classic FETUS cut, when they were a little more hardcore influenced (don’t you dare call it deathcore). I love the head-nodding beat and the straight up chord changes too. “In the Trenches” is similar to start out with a straight a head chug. Gallagher puts together one of the best guitar performances of any album this year. “Devout Atrocity” again makes with the acrobatic riffs and scales. The fact that Beasley not only can keep up, but holds his own in the bass department is admirable. There is a neat stomp-groove part that recalls both OBITUARY and BOLT THROWER at one point, both key influences on the band. Gallagher opens “Revisionist Past” with a sick lead guitar solo before the preposterous tempo kicks in and the song becomes a gnarly blur. I can’t wait to see the YouTube videos popping up for bands trying to play this one! The final song is “The Blood Of Power” and is a fitting end to such a great album. The song has bits of everything that makes them great, including more stellar axe work. Underrated no more, DYING FETUS has ascended the mantle of the greats of death metal, whether the average fan knows it or not.
 If you are still sleeping on DYING FETUS, just kill yourself.
GRADE: A+
by Keith (Keefy) Chachkes
Tags: bassist/vocalist Sean Beasley, blast beats, Bolt Thrower, Death Metal, drummer Trey Williams, dying fetus, Grindcore, guitarist/vocalist John Gallagher, metal army america, Obituary, old school death metal, prog, reign supreme, Relapse, shred, tech death
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Monday, August 29th, 2011
Dum Spiro Spero (Firewall/Sony/SMEJ)
As has occasionally been detailed here on Metal Army it is impossible to talk about the history of rock and metal without giving bands from Japan their due. Even before KISS went over in the 1970s and brought American cock rock with them, Japan has been a hotbed of creativity and talent in music. Going back through my life there have been countless cool bands some underground and some very popular worth your time and and ear- respect. Bands like glam kings LOUDNESS, the legendary epic metal of X-JAPAN, BUCK-TICK and more recently groups such as BORIS and SIGH have gotten me excited. Another band making waves is DIR EIN GREY which incorporates some of the best of elements of their forerunners blended with their own unique perspective and feel. I really loved their last record Uroborus and this new one is a complete step up from that work. The album sounds very triumphant and considering that the band recently went through a lot following the recent earthquake/nuclear power plant incident this past March. They openly discussed their feelings on the matter which you can read here. Life is often much bigger than a metal album and whether it is good or not and I think this is especially apparent in the artistry of the band.
After the introduction of “ Kyoukotsu No Nari” which sounds like the eerie exposition of a horror movie. The music paints the picture in your mind as if the monster is about to hatch and kill you in the next second. The first full song “The Blossoming Beelzebub” starts with tribal drums and enchanting Gothic female singing and chants. The song builds slowly as each instrument stirs awake as if a terrible and great epic is unraveling. When the main riff kicks in it is a wash of squealed death vocals, harmonized guitars and thick bass lines. The song is very sinister sounding with vocalist Kyo unfolding his magnificent five-octave singing range. “Different Sense” begins like the most brutal tech death assault you can imagine couched with a modern sensibility as if CRYPTOPSY, DYING FETUS and SLIPKNOT got together for punch and pie and a jam session broke out. When the chorus shakes things up significantly with a goth rock sound that wouldn’t be out of place on a HIM album. A thrashy a prog metal middle section, complete with shredding guitar solos sends the track into the stratosphere. Kyo can do nearly anything with his malleable vocal chords from guttural growls, pig squeals and power metal singing. The rhythm section of Toshiya on bass and Shinya on drums sounds amazingly tight and grooving at all times. “Amon” is another evil sounding dirge. Starting off with a bit of sea-sick rhythms boiling over in to some good old fashioned progressive death metal. Again Toshiya’s bass is just popping and about as good as he has ever sounding. Arabic influenced scales mark the guitar work of Kaoru and Die and they just kill it dead with their chops. Some of the melodic harmonies in the second half of the song will call to mind ICX Vortex’s symphonic qualities in his work in DIMMU BORGIR. “Dreambox” follows next and is more like a active rock and metal power ballad. Collectively they have a terrific pop sense about them as heard on the beautiful “Vanats”. I can’t speak Japanese, but you can’t help but feel the emotional pull of the lyrics and vocal performances in every song. The title of the album, Dum Spiro Spero is Latin for “While I breathe, I hope” which again considering everything is a pretty remarkable concept. Some more of the female vocals again chirp in as they do through out the album to add color. Later in the song we get a cross between KORN (the bands first American benefactor) and steely grindcore. Each distinct part is well written and precise, always sounding organic and not like forced genre mash. “Jukoyu” or translated as “Animal Lust” is another one of Kyo’s darkly sexual tales of depravity. The song itself is a prog/funk/thrash and metalcore workout and once again you have a band that has no ceiling on what they won’t try. Other top songs include “Lotus”, “Diabolus” and “Decayed Crow”.
 DIR EN GREY: Fearless, limitless. GRADE: A
By Keith (Keefy) Chachkes
Tags: active rock, Arabic guitar scales, bassist Toshiya, Boris, BUCK-TICK, cryptopsy, Dimmu Borgir, DIR EN GREY, drummer Shinya, Dum Spiro Spero, dying fetus, enchanting Gothic female singing, evil chants, Firewall/Sony/SMEJ, funk metal, gothic, Grindcore, guitarist Die, guitarist/vocalist Kaoru, guttural growls, harmonized guitar solos, him, horror, ICX Vortex, Keefy, korn, loudness, making art from tragedy, metalcore, pig-squeals, power metal singing, pulsing bass lines, Sigh, Slipknot, tech death, thrash, tribal drums, Uroborus a, x-japan
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Monday, August 29th, 2011
SUMMER SLAUGHTER was back this year for our annual dose of death metal colon cleansing and skull raping pleasure. Some argued publicly that the lineup wasn’t as great a years previous, while others thought this was a can’t miss show. Always a good value (amount of quality bands for bucks) and a good time was surely going to be had at this show once again stopping by at the Worcester Palladium. I got to the venue early and settled in for a hot, busy day of coverage.
 Another great show at The Worcester Palladium, in Worcester MA of course! WITHIN THE RUINS was the first band of the day and kicked things off in style. Since they are from the area they had a nice response and many heads in the house for the early part of the day. They play a mix of death core and tech death and was good way to warm up the crowd. They played two new songs off of their new EP Omen (Victory Records) “Controller” and “Infamy”. Both songs are pretty fast and heavy with “Infamy” being the most impressive. Then the finished up with “Versus” and “Invade” and went out strong. Those who doubted this band was choice enough to open the show only need have been present today to be proved wrong.
 FLESHGOD APOCALYPSE- played one of the sickest sets of any band. One of the bands I was most excited to see was FLESHGOD APOCALYPSE. I had caught the end of their set just briefly a few months back and I was stoked they were on this bill. I was not so stoked that they went on so early in the day. As the stage was being set up for the band I could feel the excitement on the floor building and I knew I wasn’t the only one thrilled to see these guys. As the lights went down a big cheer went up and smoke filled the stage. The band came out to a piped in intro music and took their places. Then as they began to play “The Violation” all hell broke loose. The pit opened up wide and the first crowd surfers of the day left their feet. Meanwhile the band just slayed with their perfect mix of symphonic death metal. “In Honor of Reason” rained down terrific guitars riffs, insanely fast blast beats and inhuman piano and other synth parts. Best of all the band’s theatrics took it up to another level of cool which was not equaled the entire day. Tommaso Riccadi’s vocals were ridiculously heavy and offset nicely by bassist Paolo Rossi’s clean singing. The entire band shredded away and left the crowd stunned. They were easily one of the top bands of the entire tour and I can’t wait to see them this fall open for DECAPITATED.
Set List:
The Violation
In Honor of Reason
The Egoism
Thru Our Scars
 OCEANO front man Adam Walker keeps the crowd moving. In between the bands I ran around conducting some interviews and as I heard the opening strains of OCEANO’s “Ending Intellect” I wrapped up my business and flew down the back stairs of the venue to the photo pit. OCEANO was killing it, every member of the band rocking their jocks off. The crowd was really into it and their high energy death core set and it was a good change up from FgA. Vocalist Adam Walker is one of the best front men in the game, just really active, jumping all over the stage and constantly keeping the crowd amped up. The crowd seemed to enjoy all of the choreographed breakdown parts and bass drops that the band employs and they are as fun as any band on the bill. The entire band was very tight and played well, especially guitarist Devin Shidaker. Songs like “Viral-ReAnimation” and “Weaponized” went down well with the crowd and the closer “District of Misery” brought the house down.
Set List:
Ending Intellect
With Legions
Viral Re-Animation
Empathy for Leviathan
Weaponized
District of Misery
I missed most of AS BLOOD RUNS BLACK’s set list as I was busy interviewing bands again. This bummed me out since when I got back in the venue they were on stage and killing it big time. I caught the last two songs “My Fears Have Become Phobias” and “Hester Prynne”. Both songs are slabs of chaotic tech death and death core. I felt like they have a lot of talent and heart based hearing these few songs. They wound up being a bit of an underrated surprise on the bill for me and I will need to check out more music by them in the future. I will catch their entire set next time they come to my town.
 John Gallagher continues to hold it down, forever strong in DYING FETUS! Since I find POWERGLOVE totally unenjoyable I fled the venue briefly in search of air, water and my late arriving metal buddies. I honestly couldn’t believe between set up, the actual playing time and breakdown how much time these ass clowns were on stage for, sucking up precious time from DYING FETUS. Sucking, I would soon find out being the operative word. Right as my peeps made it into the venue, the mighty FETUS took the stage as usual like a musical tornado. The now fully packed venue rocked as the band blasted through “Homicidal Retribution” and “One Shot, One Kill” in rapid succession. I know that these tours are arranged often by record sales, but at this point this band needs to be one of the top names on the bill, and not just in respect anymore. There are few bands as entertaining and consistent as these Maryland death metallers. John Gallagher just murders guitars dead with his technical, ferocious playing style. He is an absolute wild man of a performer too which makes him mesmerizing to watch. “Shepherd’s Commandment” was equally vicious and brutal led by bassist Sean Beasley on vocals. I have seen DF many times as an opener and early day band it was nice that they got to play more than five songs and so tracks like “Descend Into Depravity” and “Praise the Lord” were even more neck breaking and awe-inspiring than usual. As always Trey Williams is just a monster on the drums and easily the best of the day. That is a serious compliment considering all the talent on this tour. As they plowed through several more songs I realized I was witnessing the best set I had ever seen by the band and they are just now reaching the height of their powers. After playing “Pissing in the Mainstream” Beasley announced they were going to play “Kill Your Mother, Rape Your Dog”. Just then someone ran on stage and told the band they were out of time. The band apologized and the crowd immediately started the “bullshit, bullshit bullshit!” chants. All I could think of was FUCK FUCKING POWERGLOVE!
Set List:
Homicidal Retribution
One Shot, One Kill
Shepherd’s Commandment
Descend Into Depravity
Praise the Lord (Opium of the Masses)
Your Treachery Will Die With You
Grotesque Impalement
Pissing in the Mainstream
 Love him or hate him, Chris Barnes doesn't give a shit. Because he's Chris Barnes bitch!
It would be impossible for most any band on any tour to follow what just transpired. SIX FEET UNDER seems to have as many fans as detractors. Front man Chris Barnes has put down a solid career post-CANNIBAL CORPSE, even thought frankly I have never been a big 6FU fan. They always seemed to be missing a special defining element to me and perhaps unfairly, they could never really live up to Barnes’ storied past. The recently reconstituted band hit the stage with authority and a cheering crowd. That was cool and of course Barnes himself looked maniacally pleased by the reception. The band launched into the CORPSE classic “Stripped, Raped and Strangled” and they seemed to be feeling it. For his part Barnes stalked the stage with his gaggle of dreadlocks and a pissed look on his face. He did a decent job on the vocals as you would expect, but perhaps age is catching up to the man since his high screams we a little off the mark. Next up was “No Warning Shot” which was cool, the band firing on all cylinders. Aside from Barnes the lone long term 6FU member was guitarist Steve Swanson who played great and looked like he was having fun. The rest of the band guitarist Rob Arnold (CHIMAIRA), Matt DeVries on bass (also from CHIMAIRA) and drummer extraordinaire Kevin Talley ( DAATH, many others) also looked like they were having a blast. The band tore through a set of 6FU hits mixed with another classic CC song, “Hammer Smashed Face”. As for Barnes, who helped pioneer the genre for death vocalists it was a mixed blessing. Some of his animal squeals and high screams I could live without, but his lows were on point and he performed like a hungry contender, not a champ past his prime. Rob Arnold and Barnes are writing the next 6FU album so that development bares watching.
Set List:
Stripped, Raped And Strangled
No Warning Shot
Revenge of the Zombie
Feasting on the Blood of the Insane
Victim of the Paranoid
The Day the Dead Walked
Seed of Filth
Human Target
Hammer Smashed Face
Up next was DARKEST HOUR who are always great live. They had to cancel their appearance this spring at the New England Metal And Hardcore Festival 13. It’s all good since DH has always delivered live and been a stalwart act in the scene. They have played multiple times on this tour and even they aren’t really death metal (just influenced by it) they always hold their own. Coming on stage to the intro music of “Terror Nocturnus” the band peeled the lid off wit the first full song “The World Engulfed In Flames”. Again you might not think that melo-death inspired metalcore could follow some of the hardest and best names in death metal, but DH tore it up. The pits on the floor were enormous and even though some people weren’t digging it, many were caught up in the mania too. Stepping back in time for the Deliver Us album “With A Thousand Words to Say But One” upped the ante considerably. Fluid melody lines, fierce drumming and great dynamics, all capped off by John Henry’s killer vocals and performance. As one of the more veteran bands on the tour they really know how to put on a show. Playing one hit after another like “Sadist Nation”, the new single “Love As A Weapon” and “Convalescence” they put on an intense and strong show. Just like every time I have ever seen this band, it is them and everybody else. Closing with the epic “Doomsayer” you would have thought they were the headline band the way the crowd cheered when they left.
 The great John Henry of DARKEST HOUR has an OZZY moment! Set List:
Terror Nocturnus
The World Engulfed in Flames
With A Thousand Words to Say But One
Savor the Kill
The Sadist Nation
Love As A Weapon
Your Everyday Disaster
Convalescence
Doomsayer (The Beginning of the End)
 Phil Bozeman dominates! Just a few months back I saw WHITECHAPEL co-headline with local deathcore kings THE ACACIA STRAIN. Even though the same venue was packed and sold out that night, I wasn’t crazy about the show. Still, WHITECHAPEL is one of the more exciting bands in death core, so I was a little weirded out by that night. But fast forward back to tonight the band had a ton of heads in the house, as many as any other band. Just a few years back these guys were lower on the bill so clearly the respect they have been given here is impressive. Meanwhile they hit the stage and immediately kicked in to the anthemic “Breeding Violence” and the entire floor erupted in one big pit. Vocalist Phil Boezman leads the charge and the crowd was hanging on his every word and action. The band reeled off songs in rapid fire succession like “Possession”, “The Darkest Day of Man”, “Reprogrammed to Hate” and “Death Becomes Him”. Bozeman just stalks the stage from side to side and is a crazed mad man on the mic. The bands three guitar attack works best live and generally the rest of the band performs in equal measure to Bozeman or at least tries to. I basically figured out what my deal was with the band. I think away from too many similar bands WHITECHAPEL falls into a zone of a death core band capable of true modern death metal excellence. I’d prefer less bass drops and calculated breakdowns myself, but you can’t fault them for going to the well on what seems to move their fans. However, when they played “Vicer Exciser” from Somatic Defilement you hear the old, more straight up style of the band and wonder if they will ever step back in that direction. The closer “This Is Exile” might have gotten the biggest reaction of the entire show, leading me to believe that this band will eventually headline this tour, further cementing their legacy.
Set List:
Breeding Violence
Possession
The Darkest Day of Man
Reprogrammed to Hate
End of Flesh
Unnerving
Death Becomes Him
Vicer Exciser
Eternal Refuge
This Is Exile
After a long, exhausting day THE BLACK DAHLIA MURDER’s banner was unfurled and the remaining faithful death metal fans let out a cheer. At this point I was pickled from exhaustion and watched the remainder of the show in the balcony. As the stage was readied for the band that was lower down on the bill just a few years back, I thought of my conversation earlier in the day with front man Trevor Strnad. He talked a lot about the history of death metal and how hard the band has been working to get to this place and time. I’m really proud to see them come this far and when you talk to fans of TBDM, they are too!
 \m/ We are not worthy! \m/ Opening up with the ripping track “A Shrine to Madness” the band made it abundantly clear that they were not to be fucked with. Strnad as usual was a veritable madman on stage who is focused on audible carnage and tons of fun. I don’t think any band in the scene has as much fun playing a show as this band and it is always one of the best elements of their ethos. Tearing through a deep and well honed set of tracks like “Everything Went Black”, “A Vulgar Picture”, and “Nocturnal” the crowd went apeshit for these modern classics. Guitarists Brian Eschbach and Ryan Knight (ARSIS) have really built up a fine connection with one another. They trade licks and solos like nobody’s business and they give the band its foundation of melo-death inspired goodness. “Malenchantments of the Necrosphere” of off the excellent new album Ritual (Metal Blade) just slayed! Monster drummer Shannon Lucas was a beast on this and every song performed on this night. Although this track is relatively new, it should never come out of the set for its evil quotient. Other top tracks dropped left and right like “Statutory Ape”, “Necropolis”, “What a Horrible Night to Have a Curse” and former set closer “Miasma”. This just shows how deep the bands back catalog is becoming and how epic a set this was. At the end of the night it all comes back to Strnad as the leader of this band that has indisputably ascended to the upper echelon of modern death metal. Closing out their set and the arduous night with the feral 1-2 punch of “Unhallowed” and “Funeral Thirst” they finished up strong and catered to their oldest and most devoted fans. I’ll be looking forward to next years’ Slaughterific show!
 Trevor Strnad says talk to the hand- the Satan hand! Set List:
A Shrine To Madness
Everything Went Black
A Vulgar Picture
Nocturnal
Moonlight Equilibrium
Malenchantments of the Necrosphere
Statutory Ape
Necropolis
Carbonized in Cruciform
What a Horrible Night to Have a Curse
Deathmask Divine
Miasma
I Will Return
Blood In The Ink
Unhallowed
Funeral Thirst
(Special Thanks go out to Metal Blade, The Worcester Palladium all of the bands and Return to the Pit.)
by Keith (Keefy) Chachkes
Tags: 6FU, arsis, As Blood Runs Black, bass drops, bassist Sean Beasley, bassist/vocalist Paolo Rossi, Cannibal Corpse, chimaira, Chris Barnes, daath, Darkest Hour, Deathcore, deathmetal, drummer Kevin Talley, drummer Shannon Lucas, drummer Trey Williams, dying fetus, Fleshgod Apocalypse, guitarist Devin Shidaker, guitarist John Gallagher, guitarist Rob Arnold, guitarist Steve Swanson, guitarists Brian Eschbach and Ryan Knight, Keefy, Matt DeVries, metalcore, mosh parts, New England Metal and Hardcore Festival 13, oceano, omen, Raped and Strangled”, Return To The Pit, Ritual (Metal Blade), Six Feet Under, Somatic Defilememnt, symphonic death metal, tech death, The Summer Slaughter Tour, victory records, vocalist Adam Walker, vocalist John Henry, vocalist Phil Boezman, vocalist Trevor Strnad, vocalist/guitaristTommaso Riccardi, Whitechapel, within the ruins, “Stripped
Posted in Live Show Reviews, Reviews | No Comments »
Wednesday, July 20th, 2011
So, in just a few short days, SUMMER SLAUGHTER 2011 kicks off and, to be honest, this is the first year of the tour that I’m pretty underwhelmed by the whole thing. How are you guys feeling about the lineup? Am I missing something? I think that previous installments just worked better. You had Summer Slaughter that was made up of solely extreme metal bands (for the most part) and Thrash N Burn which incorporated -core and other styles and that made for two excellent tour packages. This year, it feels like SS and TNB were combined to make way for All Stars Tour and I feel the lineup was served an injustice by this.
Let’s make our way through the tour:
- Within The Ruins – I honestly have never heard of this band until they were added to the tour. No hate here, just curiosity. Should I be listening to them?
- Powerglove – FUCK this band. Next!
- Fleshgod Apocalypse – Great young band. Definitely excited to see them. This is one of the bands on the bill that makes a lot of sense and is more traditional for the tour to choose.
- Oceano – I don’t think this band is that bad, but they just don’t make sense on the bill. This would’ve been a Thrash ‘N Burn band.
- As Blood Runs Black – See Oceano… except this band is really bad to boot.
- Dying Fetus – Legendary band that is a good fit for this bill. Really stoked to see them because I know what to expect — an awesome show!
- Six Feet Under – This one is interesting. First of all, I never expected this SFU to be billed above Oceano, ABRB or Dying Fetus. They aren’t nearly as active as these other bands so it’s really surprising to see them here. Point number 2 is that the band seems diminished these days from they were when Barnes first left Cannibal Corpse, however they’ve added some high profile new members and have a new record on the way. All in all, this is a wildcard that I’m happy to see!
- Darkest Hour – This band does not belong on Summer Slaughter… Definitely more of a Thrash N Burn band and completely off-brand for what SS was originally marketed and built-up as. Darkest Hour is NOT a bad band by any means, but they also don’t belong here.
- The Black Dahlia Murder – I personally have no interest in this band at all. I know a lot of people love them but I’ve never found anything to make me interested. This also comes across as more appropriate for Thrash N Burn.
So, there you have it, there are three bands that I’m actually excited to see. Compare this to years past when there were bands like NECROPHAGIST, DECAPITATED, CATTLE DECAPITATION, CEPHALIC CARNAGE, VADER, ABORTED, PSYCROPTIC, SUFFOCATION, ORIGIN and DECREPIT BIRTH (amongst many others) and I’m just all around not psyched on this tour. I hope that I’m pleasantly surprised but it doesn’t look so great to me.
Couple this together with the SLAUGHTER SURVIVORS tour that has been announced and I’m equally unimpressed. I really like RINGS OF SATURN and SCALE THE SUMMIT are also pretty cool, however, the rest of the bill is full of bands that I either a) don’t like or b) don’t listen to actively and, therefore, won’t make a judgement of.
So, tell me Metal Army, what do you guys think of the lineup this year? Is it worth attending? Are the bands I should give a second (or possibly first) chance to? Sound off!
If you want to attend this year’s Summer Slaughter Tour, check out the dates below!
07/22 Los Angeles, CA – House Of Blues
07/23 Anaheim, CA – The Grove
07/25 Portland, OR – Roseland Theatre
07/26 Seattle, WA – King Cat Theatre
07/27 Boise, ID – The Knitting Factory
07/28 Sacramento, CA – Ace Of Spades
07/29 San Francisco, CA – The Fillmore
07/30 San Diego, CA – House Of Blues
07/31 Scottsdale, AZ – The Venue Scottsdale
08/01 Albuquerque, NM – Sunshine Theatre
08/02 Denver, CO – Summit Music Hall
08/03 Wichita, KS – The Cotillion
08/04 Louisville, KY – Expo Five
08/05 Detroit, MI – St. Andrews
08/06 Milwaukee, WI – The Rave
08/07 Cleveland, OH – House Of Blues
08/08 Chicago, IL – House Of Blues
08/09 Toronto, ON – Sound Academy
08/10 Montreal, QC – Olympia
08/11 New York, NY – Irving Plaza
08/12 Worcester, MA – The Palladium
08/13 Philadelphia, PA – Theatre Of Living Arts
08/14 Sayreville, NJ – Starland Ballroom
08/15 Washington, DC – 9:30 Club
08/16 Atlanta, GA – The Masquerade
08/17 Ft. Lauderdale, FL – Revolution
08/19 Houston, TX – House Of Blues
08/20 San Antonio, TX – Backstage Live
08/21 Dallas, TX – House Of Blues
Tags: aborted, As Blood Runs Black, cattle decapitation, Cephalic Carnage, conducting from the grave, Darkest Hour, Decapitated, Decrepit Birth, dying fetus, festivals, Fleshgod Apocalypse, Necrophagist, oceano, Origin, Powerglove, psycroptic, Rings of Saturn, scale the summit, Six Feet Under, Slaughter Survivors, struc/tures, Suffocation, summer slaughter, the black dahlia murder, the contortionist, Thrash N Burn, tours, vader, Volumes, within the ruins
Posted in The Bunker, Tours and Festivals | No Comments »
Wednesday, July 13th, 2011
History Repeats… (Relapse)
When DYING FETUS puts out a new album it isn’t a blip on the radar, it is a momentous event on the metal calendar. Even if said album is only a covers album with one new song on it, the gods of death metal demand your full attention like only a few others can. This isn’t their first rodeo so to speak since 2000′s Grotesque Impalement was mostly covers. However, this time they have outdone themselves. Celebrating nearly twenty years as a band in 2011, they have put together a collection of their favorite, most inspirational tracks. Although cover songs are as common as the cold these days, when a legendary band covers other legendary bands, you have the makings of a truly special special release.
Starting things off with a tight and sick cover of DEHUMANIZED’s classic “Fade Into Obscurity” the band sounds great. The song is already so heavy and with John Gallagher and Sean Beasley’s vocals on it is is even more so. Gallagher also lays down an exquisite guitar solo too. Just face ripping greatness. Next they take on a cover of NAPALM DEATH’s “Unchallenged Hate” and true school fans know that is a band close to DF’s black and gray hearts since they covered “Scum” on Purification Through Violence. As for their take on this new cover they definitely give the death/grindcore legends their due all while giving it a fully modern touch. The riffs are so killer it’s not really fair to other bands, especially in the hands of this band. As he does on every release, Trey Williams bludgeons his drum kit like it killed his momma, his girl and their baby. Williams continues to be the best thing to happen to the band since Beasley came into the fold. BROKEN HOPE is really underrated in my opinion and it is great to see them paid some respect. “Gorehog” is great traditional death metal song full of astounding harsh vocals and ridiculous musicianship. The mid-tempo stomp of the breakdown along with the amazing guitar solo is one of the highlights of the entire album. The lone new original on here “Rohypnol” is just classic sounding FETUS. Grindy riffs, growled/pig squealed vocals and a total bat shit crazy ending. Kinda made me wish I could get together my Wolfpack back together and go to Las Vegas. The next cover is a track by the venerable BOLT THROWER. “Unleashed Upon Mankind” is covered faithfully to the original like most of the tracks, but sounds like it could be their own song as well. The best song on here is the PESTILENCE cover, “Twisted Truth” just on the strength that DF has a lot of that great bands’ spirit in their music. Gallagher’s take on the complex and soulful guitar solos is awesome and inspired. Beasley and Williams especially shine here too. The last an obligatory CANNIBAL CORPSE favorite “Born in a Casket” sends things out with a bang. I’d love to hear on of these beauties live when the band plays The Summer Slaughter Tour. This album is a must have and will tide the heshers over until the next full length.
 Kneel before Zod......I mean DYING FETUS! GRADE: A
by Keith (Keefy) Chachkes
Tags: bassist/vocalist Sean Beasley, Bolt Thrower, BROKEN HOPE, Cannibal Corpse, cover albums, deathmetal, DEHUMANIZED, drummer Trey Williams, dying fetus, Grindcore, Grotesque Impalement, guitarist/vocalist John Gallagher, History Repeats..., Keefy, metal, napalm death, pestilence, Purification Through Violence, Relapse, “Scum”
Posted in Album Reviews, Reviews | No Comments »
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