Asphyx - Deathhamer review

Year : 2012
Genre : Thrash Death Hybrid with a Funeral Doom fascination
Label : Century Media
Origin : The Netherlands
Rating : 9.6 / 10

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Asphyx's Deathhamer defines and unleashes straightforward, unalloyed thrash-death hybrid charisma power as an 55 minutes full length is getting fed into your awareness with a quite literally constant parade of picture perfect musical hooks. Hook on the trail of the previous hook, without end, with extremely tasteful propensity exhibited regarding variation in temper and tempo. This LP is very homogeneous in its premiere structure of submitting to the will of gargantuan, sharply defined drum work, revealing this very act by an elegantly drawn "sonic foam" of the massive rhythm guitar work. Rhythm guitar work that packs all the fine melody this particular direction sounds and seems to feel itself the best with. Indeed, the album has the shocking-, yet cunning impertinence to disregard the epitome of the solo guitar altogether, concentrating instead on bringing you compliments for the instinctive images you secretly have in your soul regarding heavy music. This fine disc, as hinted, has a virtually endless foam of those while it defines itself, throwing quality riff-, and hookcraft towards your direction with rampant efficiency. Read on to find out more about the respective characteristics of these highly beneficial tendencies.


There is a certain "direction" in superficial general consensus that tends to label this veteran band as a death metal formation, which could not be farer from the truth, in my opinion. With Deathhammer, it seems to be very clear to me that the ensemble bows to no urge and drive less than to channel from the very soul-, from the very meaning of the heat, as the compositions on this disc emerge as autonomous entities of sonic entertainment by drawing different patterns of brute elegance with the most straightforward tools heavy music has at its disposal. As stated previously, it is all about the rampant riffcraft, that which simply has no place to fail on as it can't help but define hooks on spot, that come into existence quite naturally and logically, as different sonic domains and tempers - varied pitch, varied tempo - are explored. Notice the little-, but very relevant intricacies the band compliments the respective anatomies of the riffs with, like changing the orders of the notes in the climax of a pattern, for example. A record can be 44 minutes and put you into a biter sleep with a constant tempo of fury and ferocity, - like this satanic disco metal LP - or, it can entertain you properly, as THIS baby does, "simply by" honestly seeking to satisfy that criteria. This album takes you serious. The things this LP does, exactly are the things I personally expect to be subjected to via a serious and rewarding listening experience, one that spares the sentimental bullshit and serves the fucking goodies.

The subgenres the record strolls along, are numerous : the primordial form is a hybrid of thrash and death, and the short, but super-nifty track number 9 called "Vespa Cabro" gives you more entertainment via superb and sober variation in a time interval of 2:50 than the other record I just linked ever had access to. What about the eerie sound in this track, coming in from 1:49 to haunt your receptors for five seconds? Pretty fucking emotionally disturbing! And, as such, approved, of course. The release has a surprising awareness of its own capacities, as it simply does not relent throwing stuff at you, melodic thrash death hybrid kitchen sink included in the first attack wave. As result of this drive, the album arrives to points on which it ritually and hilariously commits creative suicides on, submitting to extremities of metal reigning on the different pole than thrash and death are favorite invitees of.

Funeral doom and sludge that makes Cthulhu a happy boy are revealed on this release to spice up the delivery even more. Had the release lack these attributes, I'd still rate it well above 9 points, but, with such an unprecedentedly well varied and full musculature sonic meat structure to it, I hereby declare this release to be amidst the most powerful ones the year 2012 has graced upon us. I greatly liked a previous sentence I wrote about this delivery earlier, and will repeat it to wrap this review up. Here it is. (This wasn't it, now it comes.) The things this LP does, exactly are the things I personally expect to be subjected to via a serious and rewarding listening experience, one that spares the sentimental bullshit and serves the fucking goodies. Highly recommended.

Rating : 9.6 / 10

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Mors Subita - Human Waste Compression review

Year : 2011
Genre : Melodic Death Metal with Groove and Thrash tendencies
Label : Violent Journey Records
Origin : Finland
Rating : 9.2 / 10

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Mors Subita - the band's name translates to "Sudden Death" - brings to you a fervently hefty variant of its operative subject matter, which is none other than the eloquent kind of comic book melodic death metal proposed by fellow countrymen Rainroom. The element that I think works best on the Rainroom record I just linked the review of, is virtually omnipresent on this particular LP, so my delight is considerable. (And not slim.)

Imagine a neoclassical music lingo that sports the inherent elegance and beauty of its mere own nature, yet it occupies the position of wanting to obtain the hefty-heavy melodic/harmonic hook for itself as backup as soon as possible. The sense of power metalic epic determination is being put on ridiculous dosages of war drugs herein, and so the music itself impertinently taunts both hope and hopelessness until these opposing entities end up in a no holds barred fight, - hopelessness is a tough motherfucker of the delivery - and you are invited to be the observer of the puzzling event. This particular method of orchestrating fragile classical gloom and intricacy with the rumble of wartanks is a prime fascination of the whole album, and it also is the aspect that makes the wartank-ride a truly enjoyable one. Read on to find out more about this fine LP.


The behavior of the record brings to mind massive groove metal connotations via its sheet temper, yet it must be pointed out that the groove on display is operating in a more wide spectrum than "just" the neoclassical register. When it deviates from the neoclassical moods, fueled by the intent to go bluesy for a bar or two, the re-arrival of the fragile punishment always is a superb trade-off to greet, and its subsequent dismissal equates to the reinvigorated return - and related charm - of its bluesy peer.

The release has a set of favorite musical sub-attitudes it is sporting along the way, showing frequent willingness to color its numerous hooks with a thrashy temper, and looking similarly good in mid-tempo, courtesy of the smartly sculpted riffcraft that is an immediate trademark of the release. It is not an exaggeration to state that Human Waste Compression is LOADED with hooks, top to bottom. And smart, beautiful ones at that. This diligent-, at heart experimental propensity is toppled by superb choruses that are gracing your awareness as intact, super-efficient peak moments you can hop on no problem. If you don't want that, they will destroy Nibiru and Uranus. The choruses are deeply melodic in character, as result of the rich harmonic environments they are unfolding in. Talking about the summoned harmonic environments, the release weighs in as immediate super-heavyweight in that department. If you are not impressed by the inventiveness of the harmonic fabrics in tracks like SCS, Entrance to Sickness or titular Human Waste Compressor, then I don't know what to tell you. Human Waste Compressor is a good sample-song, by the way, as it immediately starts out with a tremendous fucking harmonic fabric, engaging 111% of the band's full capacity.

Don't be too swift to relate to the term "melody" in the context of this album. The fronter, thank God & Co., does not even THINK about going melodic. He gutturals/growls the momentary prime misery no problem, yet his presence is situated in a harmonic environment that always is ready and able to simultaneously reveal a fine blend between neoclassical musical beauty/fragility and groove metalish neurosis and rampancy. Full-musculature-, real deal harmonic passages and grooves full of beauty and ruthless efficiency are abundant herein. That is the central idea, and the closely related ultimate charm of the record, of course.

It's getting uncomfortable that I can't kick into this album with a clear conscience, but, hell, the track palette is pretty well varied and tolerates no bitchwhining in pink lingerie about filler songs or anything similar. The release is a stable delivery with legit-, tightly focused content all the way through, and you need to do yourself a favor, and soak your ears into two or three tracks a time to form defendable initial impressions of the massive whole of this delivery. Many have tried to create this style-, this temper of music, but not many have succeeded yet, or please educate me if I'm wrong about this. Rainroom ALMOST did, but - in my opinion - came short via a sloppily focused mid-section. Hellfrost failed legendarily. Insomnium - then again from Finland - came forth with a brilliant release in 2011, yet the One for Sorrow LP has a much more unforgiving temper than THIS baby. This Mors Subita release is a monster and it came to kill. But it has its balladistic moments, too, and those are superb stuffs, too. The efficient combination of rabid groove and neoclassical gloom brings you a release that either puts a spiky cyborgdemon with no love in it at all on your sorry hide, or, it simply makes you one. The choice is yours.

Rating : 9.2 / 10

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Criminal - Akelarre review

Year : 2011
Genre : Thrash Death Hybrid
Label : Massacre Records
Origin : Chile
Rating : 9.0 / 10

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With its barebone declaration - ha, ha. - Akelarre, Chile's Criminal delivers quality aural fun through the thrash / death consortium that seems to establish itself as a relevant and super-efficient direction of recent metal music. The first occasion I personally have heard this hybrid sonic rampaging being ruthlessly administered before, was located - and still is, by the way - on Deceased's highly recommended Surreal Overdose, and the similarities in character between that release and this one, are hard to miss, even if you try. Pointing out these similarities is an act one can commit with honest delight though, and here is why : this thrash / death blend demands top of the heat level playfulness and creativity from their creators, because it must (nevertheless ShOULd, all in capitols) exhibit both the melodic aspect of thrash and the massive robustness of death metal. You can't lie and succeed in creating a thrash / death affair, you have to MEAN it, at the VERY least.

Deceased means it with its latest declaration, and it sure as hell is for a pedophile priest that Criminal means it, as well. This record does a great job at revealing the bastard thrash / death Animal with the tools of granite solid, vile riffing and larger than life intensity, intensity that bows to no brake on board. Guys, let's talk about the music.


Criminal, fortunately enough, throws everything but the kitchen sink at you, - but maybe they did that, too? - and they are pretty aware of the current location of your aural attention all the time. Akelarre brings you ten tracks with a very sane - ?? - program length of 41 minutes, and this amount of time guarantees a comfy-, yet not at all self indulgent space to precisely reveal the Thing on. This LP at heart is pissed like an incoming grizzly after a sedation shot, and still keeps a constant focus on its own sonic character, never trading mere heaviness in for elegant variation. Fifth track, called State of Siege is a good example of the primal attractions you can bath in with this rampant release, as this particular song reveals crisp illustrious segments of all the main elements the band is keen to do on the record. Classy, invigorated old school thrash riffage riding on a robust death-ass, and, while you would honestly be all good already with what the band gave you so far, they topple the cake with a SUPERB melodic chorus, and NO, I don't mean metalcore-like whinefests committed to embarrass the generic sky. The chorus architecture brings to mind the chorus of Rainroom's superb opening track on their debut LP, making efficient use of a soul-swallower doomy feeling that is relentlessly carried along on the bastard pauahorse of the thrash / death blend.

The favorite shape of things herein revolves around the epitome of heavy and equally catchy riffing, complimented later on by the clever placement of inventive emphasis throughout the bodies of each build. Solos are included, too, and hell, these are pretty properly presented solos : they are absolutely free of all intent to deliver you a catalog of the wankfest tourist center, and one very pleasant extra thing to recognize is the mere sound of the solo guitar. It is thankfully free both of the effect-wizardry and the over-presence. The solos are situated on one particular primal channel, leaving the other sonic landscape on the other side virtually untouched, and, this way, the riffage remains tight and present in the mix, no problem. As for the sound and shape of the solos, they are truly "proper", do not seek to tear out random minds around, and they are coming in with that pleasantly raw, distorted "default amp" sound known for its classic, angry grit and its haughty determination. You know, the distorted guitar sound you will return to with a relieved sigh when you have checked out the 1111 effects your amp comes with.

Full efficiency-, and mid-tempo engagement modes are elegantly complimented and served on the LP, and there virtually is no time by which you would be harassed to endure the exact same pattern on two successive occasions. One minor qualm to cultivate regarding this tights release is the melodic key some of these raging declarations are reigning in : sometimes, the track that follows the current one up, is in the same melodic key, and they - logically enough, I suppose - both are occupying the same sonic domain, giving you a sense of sonic-domain-abuse, so to speak. (I know I know, this is a mania of mine, but I have some others, too.)

Criminal's Akelarre has a whole lot of quality content to soak your hungry-for-the-extreme ears into, and it is quite safe to say that the release is a risk free recommendation both for the death metal fan, and the thrash metal fan. To be honest, I have no clue what you are doing here still. Go and get the fucking record??

Rating : 9.0 / 10

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Deceased - Surreal Overdose review

Year : 2011
Genre : Thrash Death Hybrid
Label : PATAC Records
Origin : United States
Rating : 9.5 / 10

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If there is one singular aspect to extreme metal that can not be mimicked without the attempt at trickery becoming obvious, it is authenticity. Veteran stillness eradication squad Deceased brings to you such level of authentically, inventively and relentlessly berserk style of sonic nuke parade that the resultant stimuli reigns way beyond the harshly limited capacity of the tools calibrated to deliver an even remotely rational and/or necessary criticism. Here is the thing : you WANT to hear this, or you really DON'T want to. There is no need for rationality here, as Deceased's Surreal Overdose employs both the masterfully operated will and skill to make the music roar in oh!, so many flamboyant and so effective ways, serving a - well - overdose of irresistible and surprising compliments directed towards the infinite faces of delicately complex-, yet, at the same time, truly manic and berserk level thrashing.

Good news galore! Deceased's fatigueless carnage mode, contrary to what you may frequently hear in the - logically enough - respective performances of other bands, has a clear agenda and the consorting musical shape for it all the time. A constant sense of larger than life, rational and smart rabidness AND a commitment to keep to it is superbly revealed, a key element that elevates this declaration to the top of the heat simply by the size and the sharpness of the teeth it chases your ass with. It seems safe to say that the intricately stacked, luscious silence massacre contained on this spin has all the bearings of an immediate benchmark, simply because this release does not try to be a supremely badass thrash/death album. Instead, it "simply" shatters your definition of the aforementioned terms via thrusting you proper into the nearest possible wall, keeping you from falling to the floor, courtesy of the incoming sonic mayhem roaring into your face. Read on to find out more about the feel of this exquisite contribution.


The absolute least you can say about Surreal Overdose is that it is an exceptionally special and serious delivery, because the music contained on it, simply does not do the regular extreme - ouch - things you are accustomed to hear. Deceased does not bow down to anything, not for the groove, not for the riff, not for the noise, not for any comfortably identifiable patterns. Music itself gets brutally abused herein via getting constantly executed and revived, just to be executed again in another hilarious manner, but hell, let me tell you that music has a whoooole lot of fun in this process. Rare are the times when you are subjected to sonic data that deliberately exiles the timelessly traditional elements of music, - including in this class the extremities of it - AND still emerges as something deeply significant and exquisitely special, nevertheless. It is easy to generate at heart pointless fusions of autonomous sonic entities and be relatively delighted about the necessary legitimacy of the emerging pattern, but Deceased truly worships and rapes the soul of extreme music, and not for a single second it takes a compromise with anything you might be accustomed to hear that supposed to be : "extreme".

As noted, these musicians think and operate way beyond the categories of riffs and grooves and noise-rampant, and they are seeking for the Source of grooves and riffs and the extreme instead. They are projecting magnificent lights on the surface of this vast Source, going for the touch upon all the rabid interceptions of locations and patterns of interest the record itself is a robust testament of. The Source of the extreme itself is touched upon by the spin, and it sounds to be rather happy about it.

This beyond all sane and insane doubts is an immediate masterpiece that brings with itself that extremely rare capacity to ruthlessly find-, touch-, and celebrate the mere meaning of extreme music, as opposed of addressing its skin details without end for the sake of addressing it. Deceased's Surreal Overdose is the record a young thrash band collectively, happily and immediately jumps into a pool of gasoline with an ignited joint in hand for. This is high definition sci-fi music. If you did not catch the drift yet here, then let me give you a final hint on the matter : Deceased's Surreal Overdose is one profoundly magical spin, and you want to hear it. And yes, your neighbor wants to, too.

Rating : 9.5 / 10

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