All Pigs Must Die are at it again. Their follow up to the revered God is War, Nothing Violates This Nature is a continuation of the already heavy, already destructive tendencies of APMD. Heralded as a supergroup, APMD pushes the envelope of what is heavy, and explores the deepest reaches of pure, unadulterated decimation.
“Chaos Arise” – a blitzkrieg that aurally assaults the listener, opens up Nothing Violates This Nature. Seriously heavy riffing by Adam Wentworth encapsulates the atmosphere of pure bleakness — Ben Koller’s drumming is unrelentingly crushing, and the deep barking by Kevin Baker sets the mood straight away. It is a bludgeon over the head with a blunt instrument; APMD shows their strength from the opening note. It is difficult to pinpoint, exactly, how something so heavy could exist; perhaps it is the fastidious approach to instrumentalization that APMD employs. Perhaps it’s the water in Massachusetts. What-ever it may be, “Chaos Arise” is an opening track that completely destroys all in its wake. It is something to truly revel in; APMD has such a unique style that it is almost impossible to resist the urge to thrash around the room.
The first single from the album, “Silencer”, is demonstrably heavy. Picking up where “Chaos Arise” left off, APMD segues into “Silencer” perfectly. Blending together a style of crust and blackened hardcore, the track grooves along, pushing the pace at every step, a sound made from the ashes of bands Discharge and Entombed. This style of hardcore works so well for APMD; all tracks sound extremely clean through waves and waves of distortion. “Primitive Fear”, a constant sludge assault, breaks the convention of the two opening tracks. Having this sludge influence, APMD grooves to a repeating breakdown, using these deep, metallic guitars to assault slowly. “Of Suffering” is another track that follows the same pattern; these sludgy, dark tones wash over, painting the bleakest picture. There is all kinds of imagery in the music, something dark and full of suffering; drenched in the mire of the river Cocytus, and steeped in the deepest reaches of the nether. APMD can play assaulting, break-neck blackened hardcore, but these tracks that showcase this kind of sludge are not only breaks from the action, but rather their own entities that exist to give the whole album a full, experienced sound.
Richmond’s Occultist has changed a bit since their last release, Hell by Our Hands. The one difference is they have gotten heavier. It is quite a noticeable difference as they jam pack their new album, Death Sigils, with such unrelenting anger that gives very little room to breathe, and, with this death-grip around the throat, Occultist proceeds to sonically assault the listener while conjuring up all kinds of evil.
The first track off the album, “Iron Distort”, is a pulverizing track, and one of the heaviest to exist. Breakneck speed coupled with sheer brutality leads to a raw, punishing sound. Right from the get-go, Occultist buries the hatchet and opens the Gates of Hell, ushering out demonic fury with deep in-the-pocket drumming and fuzzy bass. The track takes no prisoners; it is a hybrid of thrash and blackened crust that pushes the pace. Right from the opening seconds the listener is thrust into the menacing world Occultist has created, and this world never lets go.
Unholy fuck! The new FIFTEEN DEAD video for their song “ANTI-THEIST” is pure blackened fire. I have so much respect for this band, who are really doing things on their own terms and making it work! I just found out that they will be touring Australia with WÖLFE next year, plus they have a new split with Population Zero. Anyway, now is that time to peep their new “ANTI-THEIST” visual directed by their own Jaimie Christ…CVLT Nation salutes FIFTEEN DEAD keep up the radical works!
SICK SICK SICK! The Secret new video for “May God Damn All Of Us,” directed/edited by Rasmus G. Sejersen, is pure blackened FIRE! You should know that CVLT Nation are huge fans of The Secret and their new album Agnus Dei is ranked high on our list of crushing albums. Check this out: the band will also be touring Japan in November, peep the dates here. In the meantime, check out their intense new visual for “May God Damn All Of Us” right here and now!
San Francisco Bay Area, Oakland… Grind! Are you fucking kidding me? Can you possibly go wrong? A grindcore band from Oakland that fattens everything up by adding to their razorwire crust-grind assault elements of sludge and doom in the vein of Corrupted? I don’t think so! Augurs are a slimy, filthy, completely deranged and totally uncategorizeable extreme-everything foursome from Oakland that, among other things, feature on bass Jesika Christ (a former member of Ludicra), and their debut demo is like the first encounter with a new deadly disease no one had ever heard of or seen before.
Hello there Arizona! Sunny, warm… and it appears, really fucking pissed too! From the sunny and usually less musically roudy Grand Canyon State hail infact an extremely crusty, violent, confrontational and wacked out hardcore punk band with a super cool name, Windmill of Corpses! These young lads from Northern Arizona have been lurking in the underground for a while now, playing in and around their native state and even venturing further into the deep south of the country, but nevertheless their awesome debut demo (which has been out for a while now), the first manifestation of their musical intent, thankfully made it into our hands and oh boy what a joy it was to discover its existence.
Let DEATHRITE show you the way “Into Extinction” – needless to say, we at CVLT Nation and everybody else who has at least a minimum of love for the extreme side of music are more than excited for this release. “Into Extinction” is the first full-length record by DEATHRITE from Germany and undoubtedly one of the most severe, filthiest records you’ve ever heard. CVLT Nation is more than pleased to present you an exclusive stream of the entire record – witness the unbridled brutality of “Into Extinction” yourself and better seek shelter from the merciless riff bombardment and the lethal aggression brought on by this blast-beating fury. DEATHRITE provide the soundtrack to the ongoing downfall of this planet – tune in and welcome the final termination…Pre-order “Into Extinction” from PER KORO RECORDS HERE!
That’s right, what we have here is yet another hardcore punk album that took a bit (about a year to be precise) to slither to the surface and land in our hands from the excruciating shadows it was birthed in, but its power and sheer force are just too grand for it to lurk in the unknown forever. What landed on our desk is in fact yet another extremely confrontational hardcore album, a voice that ruptured from the gutter of the uttermost underground with the sole intent of being heard loud and clear and to wreck complete havoc on our sorry and unexpecting ears.
Black Code is a french d-beat/crust/death n’ roll band from Besancon, and their debut album (appropriately titled “Hanged, Drawn and Quartered“), once again completely self-released, is so explosive and bile-drenched that from the first seconds of the opening track, “Death Patrol,” shit starts hitting the fan with such intensity that it feels like the god of all shit storms itself has decided to plunge from the sky and crash on our sorry skulls. There is not one corner of this beastly hardcore album that isn’t super-charged and fully injected with unstoppable fucking mayhem. Seriously, every nook and cranny of this thing is so stuffed with spite and rage that no room is really left for anything else besides uncontrollable destruction.
This split comprises the best material either band has put forth thus far. Period. Two examples of monstrous, pristine blends of punk and metal wreak havoc on this split. Withdrawal roar under the Holy Terror banner, spewing their thrash-laden hardcore with chilling malcontent. Charlotte’s Young and in the Way succeed at breaking your ear-drumheads with their grim blitzkrieg-marriage of crust and black metal. Their split is all indulgence, one of those wholesome sacrificial offerings that begs to simply be raged to.
Young and in the Way‘s contribution brings us two tracks, the first of which being the assault called “Psychopathy.” Much blacker than past material, “Psychopathy” is a song that makes bounds in showcasing Young and in the Way’s mastery of their craft. The spells and smells of rotten cowheads have summoned, successfully, into this world, one of the band’s best tracks to date. The riffs sweep like winds over barren snow drifts, Nordic ice chipping-off as the chords are ran blood bare. “Psychopathy” snarls its malevolence, a berserk creature, focused on the blast-beat blizzard at hand. “Vaticide” opens like scream translated into music, surrounding the listener, consuming them and carrying them on rising church fires. Young and in the Way amazes in the capturing of their roots; “Vaticide” has horns that gleam in candlelight and is dirtier than late January sleet. Of greatest substance is that this split continues the band’s recent tradition of upping their own ante.