The name Gevurah is taken from the kabbalistic tree of life and when taken in non-Jewish terms, Gevurah is seen as the opposing force to God’s good will and as such the aspect that allows terrible things to happen and much suffering to occur. Ultimately Gevurah have aimed to encompass all that is wrong with the world and Necheshirion is certainly a work that evokes feelings of gross unease and claustrophobic paranoia, from the opening discord of “The Essence Unbound” to the closing dissonance of their cover of Malign’s “Entering Timeless Halls.”

Gevurah feed on discomfort and their sound is at times overwhelming, cloying and full of sulphuric hate. Necheshirion flows with a tangible and heady thrum of dark will and X.T’s (also drums) voice conveys the work of an unseemly entity via guttural roars and heightened streams of horror-laden curses. “Flesh Bounds Desecrated” pulses with a steady malevolence before the arcane spell of “The Throne of Lucifer.” Hypnotic rises of guitar (A.L. – also on bass) glisten through the jarringly melodic progression of the track. X.T.’s invocations are divinely depraved in tone and the deadly and malicious undercurrent of Gevurah’s manifesto seeps into the songs like blood into the earth. Consuming.

Order Necheshirion from Profound Lore Records immediately.

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Gevurah – Necheshirion
In Review appeared first on CVLT Nation.

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ZOM’s assault is not new however. Their self-titled demo was certainly promising, making heads turn despite the perceived ordinariness outside of the locale they hail from, largely because the worship they display is flat out enjoyable with subtle additions that the newer revivals are bringing with them that seem to have naturally leeched into their classic sound. Just enough to refresh things at least because they were getting a lot of attention, and I still managed to miss their second demo last year containing these two tracks.

Though, as it was a demo, I assume they were rougher which is either a plus or a minus depending on your attitude. There are two tracks, virtually the same length but with different approaches to their thrash formula, the first “Multiversal Holocaust” dips into the slower realms near the end while “Terror of the Cosmos” really is a relentless and blistering offensive.

As one might expect we’re greeted by satanic samples recalling Archgoat’s affinity for the perverse and evil, and then rocketing into a mid-paced blackened riff directly afterwards over d-beats and eventually into a more thrashy tremolos. All the while the the vocals harken back to the stuttered and chambered echos of the old-school — later peppered with “OOF!”’s and deep snarls — and a truly cavernous and machine-gun speed percussive blast behind it all.

This is only halted later for a chunky breakdown of the previous tremolo’s, and further slowed to a wicked and evil groove; plenty of hammer-ons and ugliness abound. This is a great moment in the track. It’s further manipulated by wah, and transformed into a bouncy gallop later before again turning toward crustiness. It’s brief because a cult-ish sample cuts into it as a closer, distorting and becoming more layered as it drones. The blends of aggression and the addition of a tasty change of gears midway through is great.

I probably won’t be alone in saying there are various moments that have one recalling the early legends of thrash: moments of Slayers first record alongside Possessed are clearly being channeled through ZOM but with a tight, blurry coating of sinister black metal (possibly a sliver of d-beat) — and a huge rolling snare presence throughout upping the distress in the fast sections.

And it is especially true in the second track “Terror of the Cosmos” (ends with a ritual necromancy guitar). Following a creepy sample that gets overtaken by feedback and lone tom strikes, the buzz starts up just shredding lonely until a jerky rhythm is formed and the pace picks up. From here if the nostalgia isn’t flowing then I don’t know what to say. ZOM stir up a storm of cosmic blaspheme with only a few very clouded riffs, blazing in their speed, and then just around four minutes in the tone and pace switches. The rhythm is still excellent just more bouncy, and sd you’ll here again they tumble into some very Show No Mercy territory in the final minutes; ending Ritual Necromancy style.

Their newest EP is definitely continuing the tradition of revival found in their original demo, the promise being exhumed, and overall it doesn’t feel tired as you might cautiously expect. The influence is undeniable but the writing and skill level play nicely with them and allow something more invigorating to the style to seep in, intentional or not.

ZOM have not vanished since their debut in 2011, in fact Multiversal Holocaust makes it clear that their path is one that may be more interesting to continue to follow especially for the purists and thrash enthusiasts. These reworked songs are further proof of this small horde’s creative ability.

I suggest if you enjoyed their work thus far and you can afford it in this climate then go and grab a copy of this from Invictus Productions or Iron Boneheard Productions before they’re gone.

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… ZOM Review appeared first on CVLT Nation.

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This record moves with such a sense of urgency that it seems to be on the downside of modern metal. There’s no occasional slow song that chugs along or despair-ridden ballad about being born just to die. Noisem rips through these nine tracks and aims to fuck you up. The first track, “Voices In The Morgue,” sets the siege off right, with circle pit-inducing fast parts that endure the majority of the track, paired with gnarly vocals and wailing solos driven more by the whammy bar than actual notes (a good thing for a metal band, indeed). The song actually slows down after about two minutes of pummeling into submission, but kicks right back in with a blistering solo that would make Kerry King weep. Noisem keeps the album going at full speed with “Birthing The Bestial,” which keeps up the intense tornado of noise-drenched metal. “Desire And Disgust” changes it up a bit, leaning on a heavy Cannibal Corpse influence, especially in the drums. The song goes for quality instead of quantity, ending the track at 77 seconds, the shortest of the album. The fourth song on Agony Defined, “Mortuary,” calls to memory the lyrical content of metal legends Death, spinning a tale of the title’s creepy atmosphere. “Mortuary” also features the first slower passage on the album so far which fits nicely with the lyrical content. Thrash heads take note: it took Noisem four tracks to play one slow part!

The latter half of Agony Defined kicks off with “Rotten Remains.” The title alone would fit nicely on Eaten Back To Life, as would the song itself. The song churns along, incorporating a good amount of double bass and just enough gang vocals to give the song a more thrashy hardcore edge to it. “Severed” follows, which is another short song, clocking in right at two minutes flat. But flat this track is not: the band continues utilizing the reverb-drenched gang vocals over a panicked fast portion which breaks into the heaviest breakdown on the album. The passage features a lot of palm muting, almost summoning the guitar playing of Mustaine and Hetfield during Ride The Lightning era Metallica. “Split From The Inside Out” follows, which finds Noisem chugging along for three and a half minutes and incorporating a little more melody into the track than on the previous six songs. The band cranks up the double bass once again to close out the song. The next to last track, “Chronic Dementia,” picks up the urgency once again, utilizing the same beat found in “Desire And Disgust,” which helps to move the song along nicely and keeps it from feeling like it’s three minutes long. The latter half of the song uses more intricate guitar work, especially in the slower break in the middle of the song as well as the solo. The final track of the album, “Agony Defined,” sounds decidedly grindier than anything else on the album of the same name. The drums explode right out of the gate with blasts and fast drumming over quickly-picked guitar riffs. The song also stops abruptly multiple times to shift gears from low to high and creates an interesting and jagged musical landscape.

I believe Noisem may have stepped up the death metal game with Agony Defined. The songs are solid, the members are young and talented, and the album’s artwork – done by A389 collaborator Szymon Siech – is a perfect visual companion to the dark and desolate lyrical content used on the album. Agony Defined will be released June 15th through A389 Records, but Noisem will have a limited run of 100 copies of the record during their appearance at Maryland Death Fest. The band will be opening the festivities on Thursday May 23rd with Bolt Thrower, Abigail, and more at the former Sonar compound in Baltimore, Maryland.

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Agony Defined Review appeared first on CVLT Nation.

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Defined by the abhorrence of divine doctrine, Total Doom // Desecration maintains an aura of intense dispair that negate luminescent drones, and bury them in filth. Personified by torturous harmonies that dwell in the recesses of the mind, stagnating within putrid noise screeching amidst torrential waves of endless torment. Barbaric by design, this is an album that is enveloped by creeping movements that bore themselves into the chasms of your most desperate pleas, inexorably building towards a swirling downfall littered with apprehensive dread. Perverse passages give way to further doom that punishes throughout, offset by somber lachrymose undertones that hold no reverence for comfort.

An oppressive overtone is majestically displayed within the sprawling asphyxiating weight that each movement holds above a consistant ruination. Sepulchral grows and indecipherable guttural lows are laid across a scathing onslaught of soul rupturing riffs, primitive percussions, and climbing bass lines to reinforce the album’s overt harshness. At its most appealing,  Total Doom//Desecration breaks from the noise filled intervals to emit lucid periods of disparaging instrumentals that drag you down into the spanning mouth of the beast, exposing a godforsaken void that swallows you whole. Casting a malevolent gaze betwixt peaking madness and crushing envelopment, always remaining just out of sight, lurking, waiting, watching.

Ultimately, Total Doom//Desecration is well worth the wait. After 20 years of silent pondering, expectations ran very high, but Sinistrous Diabolus is a band hell bent on perfection, and perfection is what we received. Still, the debut has arrived and will bore its way into the cold, dark crevices of your mind, take control, and make you beg for more. Check out the stream below.

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Total Doom // Desecration Review appeared first on CVLT Nation.

By doing so CMA perfectly pursue what they also did on the previous (and excellent) Luciferian Deathcult EP, except that these four obviously very angry men became even tighter and heavier, making Whiskey Sierra an absolutely convincing release that should please the ’83 Napalm Death shirt sporting 40-something guy as much as the 15 year old dude who only recently got introduced to Spazz by his older brother.

The four songs of Whiskey Sierra get straight to the point, hit you in the face, kick the shit out of you and disappear as fast as they came, leaving you as a bloody wreck begging for more. In about ten and a half minutes CMA do really everything it takes to tear your shiny happy world apart. The down-tempo’ish, sludgy parts are wisely placed and mostly leave you only a few seconds to breathe before one of these really ridiculous fast blast-beats bevels your skullcap or a 10.000 ton breakdown beats your head onto the concrete floor. If you still don’t have enough, the dual vocal assault makes sure you feel completely fucked. The high screams ultimately sound like a buch of rusty nails onto a blackboard. Nice eh?

What’s really remarkable about this unhealthy mixture is that CMA have in down like not too many other bands to make all this sound very coherent. At no point you have the feeling that Whiskey Sierra sounds put on or strangely constructed. It’s more like CMA found a way to melt down over 30 years of extreme music and turn it into a merciless, unforgiving sonic mayhem. Try this at your own risk.

This 7″ EP is up for pre-order via Dead Chemist Records.

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The eponymous full length debut features everything I could have wanted and more as the band has moved into an aggressive onslaught of Incantation like death metal hybridized with a fresh Blasphemy approach and an astonishing production that highlights the stab and kick of each instrument. Totaling four tracks, the last split into two sections (okay, so five), Ruin Lust is a non-stop buzz saw of primal grunts, crunchy and heavy guitars and relentless drums that border on inhuman amounts of force.

Opening without anything held back, “Obedience” starts Ruin Lust the way a torturer might start their trade; with a hammer to the face. Low primordial grunts, whipping guitars and thundering drums set the mark high as the band never looks back from this level of energy. The sound of Ruin Lust is rough and upfront, yet there’s so much meat to each sound and nothing’s lost. The bass is a sickening slop that rides just below the dirty and hazy guitar and the drums are so well covered that the lower pitched hits have heft, yet aren’t muddled or lacking in attack. “Tethered and Lashed” shows this perfectly as the band transitions from an awesome mid-paced double bass drum groove to blasts and quarter note stomps.

As you could surmise, the band’s force and momentum are my favorite parts and a key component of that are the various vocals. Low grunts, throaty glass gargling mid-ranged rasps and higher registry screams create a great smattering of vocal attacks and an edge to the band’s sound. “Skin Hunger” shows off the band’s slower side and gives the guitar the room it deserves as it unwinds atop the pensive drums until they both explode for the second half of the song in a torrent. Transitions like that are where the band’s best, dictating tempo and momentum with an cudgel.

For those who have been lucky enough to hear previous efforts, picture the band’s demo more focused, heavier, and a bit more dynamic in terms of guitar work (more riffs!). For those ready for their first time, if you’ve ever said “I like death metal” or “I like heavy music” then you should love this album. It’s got a bit of old school charm, with enough of a modern production job, and various influences that keep it memorable and overwhelming. Easily one of my favorites of the year, Ruin Lust don’t disappoint with their malicious brand of blackened death metal.

Pick it up over at Psychic Violence’s webstore amidst some other goodies (Ash Borer anyone?)

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Ruin Lust Review appeared first on CVLT Nation.