Talk about making a strong first impression! Swiss Progressive blackened Death Metal newcomers Dyssebeia’s debut, Garden Of Stillborn Idols (Transcending Obscurity Records), is a cornucopia of undeniably brilliant songwriting and delicate execution.
Talk about making a strong first impression! Swiss Progressive blackened Death Metal newcomers Dyssebeia’s debut, Garden Of Stillborn Idols (Transcending Obscurity Records), is a cornucopia of undeniably brilliant songwriting and delicate execution.
A mere two full-lengths in, Finnish Death Metal outfit Sepulchral Curse sound and feel right at home with what they’re out to accomplish and Abhorrent Dimensions (Transcending Obscurity) digs deep into the annals of grotesquery and emerges as a festering titan of slop.
Well, look out guys, we’re in for another brutal outing. See, a band usually lets you know they mean fucking business when they have one of them thesaurus type names. Hence Arborescence of Wrath with the surprisingly tame album name Inferno (Transcending Obscurity Records).
Allow me to go out on a limb here: the bathroom floor of a frat house on a Saturday night/Sunday morning has less bacteria and filth than Thorn’s newest record. But don’t be fooled into thinking Evergloom (Transcending Obscurity Records) is solely reliant on gag-inducing landscapes. The collective is armed with an innate ability to devise structured songs that possess personality and conjure truly frightening thoughts.
Distortion and volume alone do not equate to heavy. Heaviness is the feeling these sounds invoke. Sonic alchemy can be oppressive, horrifying, depressing, creepy or somehow unsettling; Gateway finds themselves touching on all of these feelings on their new album Galgeendood (Transcending Obscurity Records). Belgium is not at the top of my list when it comes to places I might expect this kind of subterranean death doom to emerge from, but here we are. This album is the follow-up to Robert Van Oyen’s 2015 debut, under the Gateway moniker.Continue reading
Somewhere deep in the recesses of a troubled soul, the pure darkness and bleak machinations of Ensemble Under The Dark Sun (Transcending Obscurity) materialized, and it’s not for the faint of heart.
Many have guessed what will be the soundtrack of the apocalypse. Poland’s 71TonMan has submitted its idea of such a soundscape. I believe they have a damn good shot with their latest album Of End Times (Transcending Obscurity). All of the heavy influences of doom and sludge metal, with small doses of black metal to cover some of the occult or taboo. Four tracks, averaging ten minutes each, bring this colossal death monolith to life.
Chipping away at the putrid exterior, Antimony (Transcending Obscurity) is Ashen Horde tackling a litany of musical techniques, touching upon elements of technical black and death metal. In doing so, guitar solos feel completely organic; the drums drive the rhythms throughout; and the sheer blasphemy housed within the guitars is palpable.Continue reading
In the world of heavy music, there needs to be some degree of weird, strange, maybe even taboo. Without this, all we have is anger and aggression with little bursts of sadness. This need is currently being filled by that of Pennsylvania’s own duo dissonant black/death metal group, Veilburner. These two have been dropping full-length releases consistently since 2014 (first I am hearing of it, color me interested) but now the sixth record has disturbed the planet in the form of VLBRNR (Transcending Obscurity). Sometimes the most comforting music, given the right environment and levels of vulnerability, is actually the most uncomfortable music.
Australians know a thing or two about Pop Punk, and DeathFuckingCunt are no strangers to the scene, with their hummable hooks and heart-warming verses.
Of course not.