When it comes to bands coming from Australia, the same rule always applies: quality over quantity. Temple Nightside is one of the newest additions to the extreme metal scene down under. The band’s inception goes back to 2010, and since then the duo have released an EP, entitled Prophecies of Malevolence, and a split album with Canadian black/death overlords Antediluvian. And 2013 marks the year when Temple Nightside decide to summon all of their might and malice in order to spawn their debut full-length, Condemnation.
As to who is Temple Nightside: the band comprises of two members, Basilysk on drums, also of Backyard Mortuary, Rookwood and The Slow Death, and IV on vocals, guitars, bass and keyboards, also of Ill Omen, Perdition Oracle and previously of Funeral Mourning, Pestilential Shadows and Woods of Desolation. Oh! And I forgot to mention that both these guys are also part of Nazxul, one of the best black metal acts to be set loose upon this world. With such a resume, the anticipation for an album such Condemnation is definitely high, and these guys do not disappoint.
Death grind’s most deserving sons Machetazo return with Ruin, their first full length in 5 years.
Just like the fetid corpses Machetazo adorn their albums with, they’ve only gotten more putrid and grotesque with time. Crypt opener “Horca” introduces Machetazo’s best guitar tone yet and a flurry of cacophonous drums and echoing grunts. The production does wonders for the duo as its somewhere between Mental Funeral, Left Hand Path, and Onward to Golgotha.
As you could probably surmise by the aforementioned references, Machetazo are leaning much heavier on the death metal side of things this time around. There’s a complete lack of horror movie samples and the band finds much more room to slow things down and get a solid groove going. Sure they blast and lets riffs fly at a furious pace, but they also incorporate a slew of mid-paced punk sounding bits and classic death metal shifts. Those who prefer Speed over Point Break might be a bit disappointed in that regard, but I feel it’s a better effort and approach.
Music progresses. It is a fact of all genres; metal being no exception. It is this fact that keeps things interesting throughout the years. Without it, the masses would still be listening to classical music on bakelite records spinning at 78 revolutions per minute (not that anything is wrong with classical music. Without it there would be no metal). It is all about progression. Speaking of progress, Australia’s Altars have taken death metal to a new place. Their first ever full-length, Paramnesia, teems with innovation and pushes the boundaries set forth by the originators of the genre.
Altars is Alan Cadman, Lewis Fischer, and Cale Schmidt. The trio formed in 2005 in Adelaide, South Australia. They have previously released a demo, and appeared on a couple of splits. ‘Solar Barge’ was released as a single in early 2013 in support of Paramnesia, a record which should garner the band some great
Before Colin Marston went on to found Behold The Arctopus, he wrote and recorded a few tracks for his solo project entitled Indricothere. Some time passed and in 2007 the debut self titled full-length of Indricothere came to be. Anyone familiar with the bands that Marston participates in, from the technical/progressive metal of Dysrhythmia, the jazz influenced Behold The Arctopus, the progressive/avant-garde death metallers Gorguts to, my personal favorite, the enthralling avant-garde black metal of Krallice, gets what the common denominator is: unreal levels of musicianship and technicality.
So in the sophomore album of his solo project, Marston is able to put together a sort of Frankenstein’s monster. The album has numerous influences from diverse genres, each of them bringing to mind a different project of the mastermind behind Indricothere. From the experimentations with the rhythmic patterns that bring to mind Dysrhythmia, to extreme metal parts that are either flirting with the death metal spectrum or the borders of black metal extremity. Therefore the best way to describe the sound of the band is simply: progressive.
Execration review by By Metaloath
“Ancient Tongue” (2013)
The Norwegian deathmetal act Execration has been around for quite a while, and they have steadily evolved from the early demos in 2004 into a really solid band. The long and winding road from demo to demolition includes one EP (Language of the Dead, 2004), two full lengths (Syndicate of Lethargy, 2008; Odes of the Occult, 2011) – and a European tour; oh, and that Fenriz from Darkthrone ‘Band of the month’ thing he has going.
Anyway, Execration provides the lethal combination of raw and intricate song material – especially the Odes of the Occult album really laid down the rules of how to do malign deathmetal while avoiding a mindless grind & blast-o-rama. The musical expression is closer to acts like Deathspell Omega, Blut Aus Nord and similar bands, but is different as Execration has very much kept the organic live feeling in the production.
Pick up, say, the ‘A Crutch for Consulation’ song from the Odes-album, and you see what I mean. Slow and heavy, then lighting fast, all evil and sincere, and this funeralish riff-hymn at the end of the song.
Just over a month back on July 6th I attended a pretty awesome DIY grind gathering in the forests of Squamish, British Columbia, Canada that lit up the tranquil atmosphere with blazing grind and powerviolence from the afternoon straight into the night.
Organized by locals and inviting multiple comrades from both sides of the border, while respecting the land and putting on a grand celebration of fastcore, this year’s Squamish Fastcore Fest while it was my first, will not be my last. So this is kind of a (late) summary or reflection with some photos and video.
Different day, with another post full of killer music from some of our favorite artists! So let’s get straight to it: we are streaming new music from Chelsea Wolfe, Witchrist, A Storm Of Light, Subrosa and Ephemeros’ full album – all tunes found south of heaven!