Sunday, December 29, 2019


From the Iberian Peninsula Comes the Menace

Graveyard side.

Before writing anything about the song „I, the Godmaker”, I must repeat once again: their third album from 2016 still belongs to one of the best deathly slabs recorded in the twenty-first century. And I tell you, they are real busy bees looking at their full discography. The year 2018 brought another two titles: „Back to the Mausoleum” Ep and split with Morbid Flesh, however this reviewed song has been recorded during Ep session in 2017. And you know what? The track simply slays. In a flash, it joins the best ones ever recorded by Graveyard. I got crushing riffs and varied paces. I got captivating and truly mesmerising lead-like guitar part. I got 'from the depth of the abyss' vocals. I got just superb solo on the end. I got the ancient spirit of metal. Simply I got a metal anthem. Being completely speechless, „I, the Godmaker” makes my Graveyardish madness still continues...

Morbid Flesh side.

If their comrades recorded a song that differs from the previous album, Morbid Flesh follows the deathly searchings in „Rites of the Mangled” domain. The main idea of „Seventh Hell” is to keep it ugly, obscure and eerie, not complex but simple and straight to the single cell. Even if the not so fast tempo dominates through the catchy groove parts supported by fantastic melody-driven lead, there are outbursts of furious pace that ravage everything in sight. Also, vocals lines are varied from deep growls to maniacal shrieks. Being in the claws of the old death metal, they boldly juggle different influences. And they do that in a really devastating way.

Summary side.

Released as a strictly limited piece of black wax, this title is definitely worthy of admiration. The songs are neither session cripples nor poor rehearsal failures. They are just two brilliant death metal hits, showing rather different musical view. Even if both tracks have been recorded in the same place (Moontower Studios) by the same man (Javi Felez), there is no way to mistake them. I think the future for those Spaniards seems to be really bright and writing the words, Graveyard has just released another album in September. Thus I wait for Morbid Flesh move.


(written in December, 2019)  

Saturday, December 28, 2019

THE DEAD GOATS - Baptized in the Grave (2019)

Goats Got Baptized

Yes, it finally happened! The Goats are back with completely fresh blood. Despite the line-up scission and, what is the most important, serious health problems, three new songs became another acts of worship for ages. This time, the band joins the ranks of buoyant Deformeathing Production releasing the title in limited vinyl format only. And just like their some previous deadly shots („Don't Go in the Tomb”, splits with Icon of Evil or Calm the Fire), the two songs formula supported by one cover works really fine. But for sure, the closing track is a bit surprising in the goat family. It's not a metal classic like Napalm Death, Autopsy, Repulsion or Carcass before. No. They recorded the song from Swedish punk band called The Baboon Show and I bet there were just few Goats freaks knowing this crew. For sure I was not. And if this track is the softest one in their roster, it is nice stuff to be played live. Good fun guaranteed.

All right, to put it mildly, I do not buy The Dead Goats vinyls for cover songs, and something about the rest must be written. As for production side and the style, nothing has been changed and I face again with Swedish land migration into Białystok region. This characteristic part of guitar sound is familiar since the very first seconds of the „Path of the Goat” debut, yet I have an impression it's been served a clearer way. And if the title track is on the plate, the baptism begins with no time for any reflection, resembling a bit their „The Gloom That Came to Salem”, with some horror talks and so gripping melody-driven in the second part. It rips the flesh because it's brutal, ass-kicking and exhuming Swedish old-school spirit. Yep, I know it sounds like a cheap advertising slogan. But it's true to the core (or grave, if you really wish). What's more, it's not about originality at all, it's all about how they can successfully renew and explore the sounds once invented. And this makes the band just splendid. In turn, the next track „Fancy Funeral” is more slaughtering, kept in the vein of the most frantic songs ever written by them, however the title may mislead and arguably it doesn't refer to Manfred Alois Segieth, commonly known as Fancy, and his future funeral.

Since 2017 reunion, I was awaiting for any sign of their musical activity. It's not a full-length, yet these eleven minutes bring enough music to be fully glad about. I acted pretty fast and bought two versions: the black one for ordinary spins and the yellow/black splatter, definitely for exclusive Sunday's listens, hoping it will survive for a long time, maybe till the next album? And for the end, there is only one thing to do: paraphrasing the Fancy's hit song, these baptized pieces of musical rottenness become „Flames of Goats, flames of Goats..”. Did anyone inform Fancy?


(written in December, 2019)

Saturday, November 2, 2019

BLOOD INCANTATION - Interdimensional Extinction (2015)

The Black Space, Our Only Almighty

Blood Incantation is yet another band in my listener's career which discography I met inconsecutively. The first sounds of these Denver based madmen stroke my senses under the „Starspawn” name and demolished me completely. Well, it was just a coincidence, I wanted to buy their stuff and the debut landed on my desk firstly. So it was pretty sure for me that this reviewed Ep, somberly called „Interdimensional Extinction”, would be the title for my collection eventually. Of course, if I hadn't had opportunity to meet their 2016 debut, I would have gotten my attention to it, no two ways about it. Why? Because no one can miss its front cover, the Bruce Pennington artwork from 1973, a true eyesnare. It is absolutely stunning: by using only two basic colors, he managed to depict the most ominous thing for every human being – the Black Space, where we are but just nothing...

Before writing about the musical content, it's worth to glance at the logo as well, a proper thing for depressive black or any goregrind slamming crew. But no, not a bit of it, Blood Incantation is just pure death metal act. And what's more, the band seems to be one of the brightest stars on the metal firmament. Their merely eighteen minutes first serious title is a cosmic journey: fascinating yet frightening to the bone, with no signs of accidentality (sometimes rather as controlled chaos). As for production side, the sounds are fresh and organic despite completely digital form, it supports the music which has been given in awesome shape. Fore sure, killing fretless bass parts played by Damon Good as a session musician are really worth checking out closely! And if I had to play in musical comparisons or parallels, I would enumerate debut album of Demilich on the first place I guess, maybe with a bit of Nocturnus from „The Key” era, however without that huge amount of Louis Panzer works. These mentioned bands are one thing, but in my opinion the Americans play in the same masterful league like Mexicans from worshipped The Chasm. However their deathly visions are different, but with the final impressions to be pretty much similar.

The whole is really varied, where many fine ideas have got its right place. There is even a room for clean vocals and Moog section. And despite drowning in technical display, being broken and turbulent, this Ep is very easy to swallow in full. Then the cosmic energy (as the booklet precisely says: cosmic echoes to the underground) enslaves the flesh and the soul. Seemingly Blood Incantation doesn't try to be the fastest band in the universe and rather mid tempo prevail, yet some outbreaks of rampant speed are present as well. With old-schoolish-driven crushing riffs, quite melodius leads, acoustic parts in „Obfuscating the Linear Threshold”, atmospheric opening in „Hovering Lifeless” or horror-like ending in the last one, the puzzle becomes to be just another great title on my shelf. And after many meetings with it, still I cannot write which track is the best one. It proves the stuff is quality equal, since the very first seconds to the end of „Subterranean Aeon” - my senses ride through the galaxies, black holes, stargates, beyond the light, beyond human life form, beyond the known universe... with only the Black Space as a comate. But this is not the end of the endless journey, as „Starspawn” is going to visit the Tulum Codex pages very, very soon...


(written in November, 2019)

Monday, October 21, 2019

DECEPTIONIST - Initializing Irreversible Process (2016)

Introducing Imminent Denouement

There are so many members connections in the world of Italian (brutal) death metal kingdom, please take a look on Fleshgod Apocalypse, Hideous Divinity and Hour of Penance to name just a few. And yes, Deceptionist isn't a rookie in the family, being yet another deathly hybrid on the scene. Founded by Antonio Poletti (ex-Hideous Divinity guitarist, he took part in „Cobra Verde” recording) and Claudio Testini, musically they do not flee from the standards once given. Such tunes are roots and boiling blood for Deceptionist's musical message and they play in the same league: it is served technical, it's incredibly brutal and intense, but luckily Antonio didn't copy unthinkingly more known precursors. What's more, his own visions led him to something original...

Of course, it's impossible to omit Pär Olofsson front cover art – it draws attention immediately giving clear understanding what are lyrics all about. And forty seconds of „It's Just Begun” introduction that contains of samples is a breath of mentioned originality. It's nothing new in music at all, yet Italians used it in a very good way gaining an atmosphere of futuristic reality, lowering and inevitable, reality that humanity will face sooner or later. Production-wise, it is maintained in definitely modern standards, and I cannot imagine this album with old-school touch in the vein of Sunlight or Morrisound. Anyway, it's totally sterile, soulless, machine-like... and perfectly fits the sounds and Deceptionist's concept.

As written before, the band is an Italian scene child with Hideous Divinity as one of the fathers, yet some brave journeys into Necrophagist's first album domain are discernible: in most broken „Final Innovation / Automatic Time” or „Sunshine”. The musical content doesn't let me feel bored, there are many slow-downs, however it's obvious the sound carnage is the main key to enslave the mind and the body. Luckily, using of samples in such an extensive form, isn't a determinant to name this album industrial (which I really do not like), yet track called „Industrivolutionaction” isn't my cup of tea whatsoever. Each (mechanical) component has its own place: rather one-dimensional and pretty clear Andrea's kind of growls, quite catchy riff layers, interesting leads, 'I'm not a human at all'-like Claudio's battery and lashing bass parts with the best moments in „Quest for Identity”.

Summarizing this debut, yes, it's a pretty decent piece of (modern) death metal. The adjective modern in the case is absolutely significant, as it is impossible to swallow for old-schools freaks I guess. Anyway, this red piece of wax is a frequent visitor for my gramophone. Not only because it's crude, merciless, bestial and no-human stuff. For sure the pervasive futuristic aura did a huge and overpowering impact on me. Samples are one thing, but the closing part of „When Humans Began to Be Machines” is highly frightening and totally nontypical for the album. Thus, could I name it kinda climatic album? Probably yes, in some sick way. And one more interesting thing on the end: although there are many great moments here, the best one is „Irreversible Process” lasting three and a half minute and altering effectively my body into the machine. Amazing, indeed. And really harrowing...


(written in October, 2019)

Tuesday, August 6, 2019

MASS BURIAL - Gangrene Hymns (2013)

When Music and Medicine Collide: At War with Anaerobes

In our modern times it is impossible to follow and then listen carefully to all the metal bands emerging from far and near. What's more, it is impossible to follow all the stuff with Swedish death metal flyer. Well, I came across Mass Burial when got their second full-length somewhere in 2018, and decided to buy this Ep without a flick. Released under the banner of Polish label Wydawnictwo Muzyczne Psycho, it strikes the sight organ with absolutely neat bicolor front-cover done by Juanjo Castellano. Musically, Mass Burial doesn't try to walk away from mentioned earlier old-school genre, even for a while (but yes, there is one surprise). With the very first seconds of „Beaten, Chopped and Eaten by the Porks” I face the storm of well-known stuff. Neither experiments nor unecessary quirks, just a pure tribute to the music I have been worshipping since first „Left Hand Path” / „Clandestine” meeting. During this gangrene madness, the Spaniards head to Dismember heritage mainly. And I have an impression that they mixed their two albums: „Death Metal” and „Hate Campaign”, however the structures are made of more rampant rhythms. The Spaniards boldly use it in each song, mentioned beginning of the track is the best example, here supported by furious leading guitar and absolutely memorable riffs. Then, add to the whole the guitar tone that no one can miss and the proper dosage of melody, and the formula for good old-school shit is just ready.

I wrote 'bout the speed. The same goes with catchiness. Deftly they dose such moments, not only as rhythm guitar is mentioned, but also when it refers to the leads, just take a listen to the ending part of „Unit 731” or two leads in the opener. And when ten minutes pass, „Persecution Mania” finishes the menu. Yes, you're not wrong, this is the Sodom cover. It has been played the decent way and nothing more than that, yet I'm still asking myself what this song is doing here? For sure it doesn't fit here, it ruins a bit the final impression, but if the cover song is needed as air to breathe, I'd like to hear any Dismember piece for the end of the title.

„Gangrene Hymns” seems to be kinda pass for a bigger label. The next second album has been released by Spanish Pathologically Explicit Recordings with two songs taken from the Ep, „Unit 731” and „Gangrene”. I truly do not know if it helped in any way, as the scene nowadays is overcrowded by such bands as Mass Burial, however if only good music really counts, these ten minutes of Swedish insanity are worthy of some careful spins as I do from time to time. Anyway, the band is still active, all the members are pretty active in many various bands, so the metal blood is warm incessantly. With no time for the rest, 2019 brings another title for their discography, the tilte I should check out sooner or later. Thus, let the gangrene flows through the veins of the dead. Or... something like that.


(written during July and August, 2019)

Sunday, June 30, 2019

HAEMORRHAGE - Obnoxious (2014)

The Obnoxious Files: Anatomizing the Past

Primarily released as a part of double vinyl split with Christ Denied in February, 1995, it has finally landed on my (operating) table in the month of April, 2019. Unfortunately it isn't the old version, I've got cd re-issue made by Mexican Diablos Recs in gatefold cardboard and finally disgorged in 2017, which is yet another „Obnoxious” title as Power It Up label gave it a vinyl life once again in April, 2014. What's more, the track order has been put on „Haematology” compilation from 2007 with all the content remastered at VRS Studios. It's not the end with sound play, it has been remastered for the newest releasing at the House of Grind once more with two bonus songs added. As Luisma once commented, it has been released as an advance for the upcoming debut album under the banner of Morbid Records. Each „Obnoxious” track had its place on „Emetic Cult”. Then, front cover from mentioned „Haematology” compilation was supposed to be the artwork for the split, yet nobody knows why it didn't happen. As compared to the first edition, 2014 has a bit different cover. Obnoxious title disappear from the right side and appeared down below with no eyeballs and written in capitals. Such a change.

All right, let's leave this historical overview. I perfectly know all the songs and there's no any surprise for me. That's true, „Reek of Putrefaction” and „Symphony of Sickness” albums were absolutely known for the Spaniards and if the general impression has got a lot of common things with the Liverpool gorefathers, however I would lie claiming „Obnoxious” is a piece of brainless copy. No, absolutely no. The idea is to keep it simple, brutally honest, and with overwhelming pathological touch. What's interesting, the music is served in rather slow or moderate paces, even meteoric shots like „Cadaveric Metamorphose” with some headbanging rhythms or „Anatomized” has got a room for breather. Those slowdowns really smash the organs especially on the beginning of „Expectorating Pulmonary Mucupurulence” and on the end of „Fermented Post-Mortem Disgorgement”. Such a skillful dosing of different tempo when the blasting speed isn't a key factor, makes this release very absorbing since the first seconds of „Nekromantik” prelude, and putting it a bit laconic, Haemorrhage just managed to create sick atmosphere. For sure, a round of applause to the realization of sound with new remastering, definitely it helps here, especially rhythm section lines has its place in the morgue. I don't care if „Emetic Cult” contains the whole of „Obnoxious”, for me as a kinda psycho fan of the band since the ages, this issue is a real pathomusical banquet: seven gore tools in twenty-two and a half minutes, being extremely good start on their medical crusade. Summing it in one sentence: it's an uncontrollable proliferation of goregrind. Lusciously!


(written in June, 2019)

Saturday, June 22, 2019

SAVIOR - Podział (2019)

The Salvific Convention

After two years since the first debut Ep has been thrown to the underground, Savior strikes back and tries to save some souls with its visions of metal. For starters, it's a good piece of news that beside digital versions, there's a physical format released simultaneously, given in a rather modest form with lyrics, wrong track order and grim band's photography. Yep, that's right, joke is over now, as Savior simply got matured in every aspect as compared to the previous „Panów pan”. First of all, still keeping sound realization in the underground frames, they got it more organic, maybe at the cost of first Ep rawness a bit, yet the result is pretty satisfying, especially when it comes to drums. Secondly, the first words alert it won't be a nice excursion. That's true, two years of rehearsals, gigs and countless drops of sweat should be a drayhorse to reach any progress and the opening song called „Ty” confirms this natural way of development. And if „Ciemne ludy” had some broken rhythms, here I have a real feast of tunes in the vein of Artillery, being fantastic mix of „Cybermind” and „Khomaniac”: catchy riffs, not easy for headbanging arythmic driven paces, gentle guitar passage in the middle and agonizing Jordan's vocals. One shot, one kill and one wonder at the same time... Only two and a half minutes run extremely fast, leaving me with an 'I want fuckin' more such a mutilation, guys' impression...

The Ep contains of three songs clocking in twelve minutes, and it's a clever measure. Each track has something different to offer and so is the next „Obywatel”. Preceded by horror-movie introduction... wait, wait, no, I need to hold my horses, too much goregrind stuff lately. All right, once again: preceded by short talk about the main colours in Polish society, it becomes a song with less thrashing vibes and more clean Jordan vocals, based on fast memorable theme, with changing tempo and furious lead. But the best is yet to come. I mean, the closing and the longest one is a kind of twist ending for sure, being an obvious evidence the band doesn't want to be a slave of any limits or constraints. Despite Vektorish-like portions of riffs, Savior tries to sneak out the thrashing formula, providing both calmer acoustic sounds with melodic chanting and all-consuming drum cannonades that hook death metal domain. And in contrast to this controlled sonic speedy disruption, the second part seems to be a couch potato: very, very slow pace dominates and when it doesn't want to go fast, Jordan changes his voice to more guttural. Yes, these slowdowns in the vein of Dying Fetus or Ingested really smash all the organs without any mercy! That is completely unexpected, yet it sounds absolutely perfect to me. Believe me, I listened to many thrash slabs for years and such a method of sonic execution is given for the first time in the genre, I guess. What's more, „Nam B(Jaro)sław” has a chorus no one can miss. Simply, a highlight!

In a deep sorrow I must avow I missed their last gig this June during the next editon of „The Massacre of the Innocents”, as my son didn't share my enthusiasm and preferred to slaughter me during FIFA 19 game to listen to any metal noise. You know, priorities. Anyway, it's not a challenging task to summarize „Podział”. I am very pleased with the final effort, even if the short adjective aspires to be one of the most important word on the board. Well, as mentioned above, there is a progress, vision and off the chain youth. The holy trinity that will lead them to a full-length, I hope. I'd like to write all the doors are open for them... but unfortunately I have to quote Tadeusz Sznuk 'not exactly' right now, as due to the whole lyrical content, Savior won't be invited on PiS convention, however I've got a strange feeling the band will handle the issue.


(written in June, 2019, in searing heat)

Sunday, June 16, 2019

NASTY SURGEONS - Exhumation Requiem (2017)

At Surgical Cafeteria: Human Flesh Is Also Food

Writing that Spanish death metal scene is really interesting these days seems to be a cheap slogan. There are many bands worthy of note and Nasty Surgeons are one of them beyond a shadow of a doubt. Directed by Raúl Weawer, it has been created to bring more brutal and rotting sounds after twenty years of activity in his previous melo-death Mistweaver. This, in turn, led Burgos surgeons to exhuming the old death-gore-grind flesh. With no tape demo or even digital single, they signed a deal with Xtreem Music and „Exhumation Requiem” saw the light of January day in 2017. But I didn't buy it because they are from Spain. No, it was great Juanjo Castellano's front cover, the first thing that got my attention in the case.

The opening song „The Resurrectionists” is on the table and everything is clear for me. After ominous introduction, Spaniards strikes with sounds that defines its style without any problem. Yep, I know, Carcass was on the beginning of the road, yet the Surgeons are another killing offshoot. Two various kind of vocals, varied pace, a dose of catchy melodies with leads (the latter reminds me of Entombed's debut, superb!) and razor-sharp riffs slicing the tissues. To simplify the thing, there are many musical and lyrics influences from gods like Haemorrhage or Exhumed, yet the final conclusion is they are rather a bit slower. It means the band is definitely more death than grind, but still gore.

As I read in some interview, the music has been created in one month. Not sure if something like this can determine the sounds to be good, but „Exhumation Requiem” is an example that such kind of realization works here really fine. All is fresh, without calculation, yet splendidly kept in the genre frames. Even if the front-cover may mislead a bit, the lyrical content is mostly related to surgeries. As for production, both studios Undead and Sinergia gave it a proper vibe for the old-school, I mean, it's neither old-fashioned, nor too modern, it sounds just great especially bass line got the room. Then there is a space for short opening introductions (in four tracks to be more precise) that don't disturb at all, with the best one in „Nasty Surgeons” song: after gentle speech which seems to be kinda surgical credo (and later all the lyrics for the track), nice relaxing and idyllic-like melody is given to the audience to become one of the best medical tool on the album immediately afterwards. There is no filler track, each song has something interesting to offer, no matter if it is really solid and bone-crushing portions of riff cascade in „Human Flesh Is Also Food” and „Autopsy's Protocol” or mostly slow mincing paces in „The Creation of the Monstrosity” and „Devoured Alive”. For sure I have to mention all guitar leads, they're very interesting, compelling, perfectly fit to the sick structure and simply make this album better. Just take a notice on „Burnt with Sulfuric Acid” with two fantastic lead explosions, the first lead in mentioned „Autopsy's Protocol” or total leading madness in the ending title track that opened by the theme based on Chopin's Funeral March.

This promising band offers good music level in all forty minutes. Even if inspirations are quite obvious for them, the performance is more than decent with every aspect of the release, not ignoring memorable song titles and lyrics as well. But... wait, there is only one moment that made me a bit wonder: pretty strange guitar work in „Antemortem Dissection” lasting a dozen seconds (2:02 – 2:26) that suits better for groove or metalcore style, I think. Anyway, while writing these words, the new album has been ready since July, 2018, oozing its infectious stench and invading the underground air. It seems there's no time to rest for nasty surgeons... so, let the operation begin!


(written in June, 2019)

Tuesday, April 16, 2019

RAVENOUS DEATH - Chapters of an Evil Transition (2019)

Evil Transition: Awakening of the Damned Ones

The main reason I purchased this album was Ravenous Death's previous „Ominous Deathcult” Ep, really noteworthy piece of rotting death metal. I was just curious if this debut shot wasn't an one-night stand as all the members are involved in other different bands or projects. Luckily, the Mexicans went malapertly ahead and recorded those chapters, this time under the banner of Memento Mori bigger label, so the better production isn't just a sheer coincidence, I guess. Then, the next change appeared in the line-up as Miguel Angel left the band for serious healthy reasons (however he wrote music for three tracks) and Victor Mercado entered as a new leading vocalist. So, the scene has been infected in January this year, with ten completely new songs in the vein of... Yes, that's right, in the vein of pure death metal. And you know what? With the very first seconds of opening „Prelude to Evilness” I can see the goosebumps forming on my skin: this is slow introduction, mysterious and dark, with fantastic main riffing and ominous noises in the background. Having no time for a rest, „Doomed to Exist” strikes with full force and there is no any moment of surprise...

Well, the first meeting with the album was a little bit misdefining. I mean, not about the genre of course, but I got the impression that Esteban and his drums ordnance ruled the space. Next listens assured me it wasn't an incessant drum blast. What's more, the musicians avoided the boredom and monotony bringing just good and diversified portions of music within aforementioned style where inventing a wheel once again is absolutely redundant. My first connotations headed for two Vader's albums „The Ultimate Incantation” and „De Profundis” if the guitar and drum work is concerned and for old Demigod if I would like to underline some slower parts and its eerie melodies. Such a mixture supported by Mexican hot passionate blood and metal dedication results just a good old-school slab.

Yes, to mutilate the senses is the main purpose. And if the speed is the key in a way, there are a lot of memorable slowdowns. I still remember such tunes from „Rotten Flesh Murderer” and here I can easily indicate another ones in „Evil Dementia” (with pure Finnish scene worship), „Awakening of the Damned” starting at 1:23 which is quintessence of the style or the beginning of „The Sinister Being” with fantastic melody at 2:23. In turn, „Massacre Cult”, definitely written in the vein of Remains (but it's not a surprise as it was composed by Miguel himself) is an interesting collage of catchy leads and enraged destructive paces. I know I wrote about style purity, yet two more tracks should be mentioned right now. They are a bit different, „Initiation Ritual” has distinct yet short sounds familiar to melodic black metal (Dissection, Sacramentum), the closing track „Soul Consumed by the Occult” (mere fact, the last song from their Ep has word 'occult' in the title as well...) distinguishes itself from the rest by killing guitar parts with strong Spanish Ataraxy touch, being an exquisite closing song for the end.

This album is nothing but the evidence. The evidence that one may create gripping stuff using once invented and recorded things. Old-school is the spinal column throughout, the Mexicans were able to add the rest, boldly, precisely and at last successfully. All the pieces of the puzzle fit together, from scary and no hope giving front cover to rather not typical for such a genre Victor's gutturals, from ominous atmosphere to each single hard hitting ravenous riff. The sounds skelter along ruining the serenity without any mercy revealing something new to adore with every next meeting. And I tell you, as compared to the previous Ep, the transition has been done. Now, the band is a beast, ready to inscribe another death metal chapters. I wait.


(written in April, 2019)

Sunday, February 17, 2019

HAEMORRHAGE / DISGORGE - Morgue Metal (2011)

The Mortuariumfilled Highlights

Such a split release was just a matter of time, I guess. Two highly respected bands, the true connoisseurs of human anatomy and diligent students of pathophysiology lectures united the forces to vomit musical entrails into absorbent layers of the underground. And believe me, these 22 minutes are anything but just a gore grind knockout. Three opening tracks shown by the Spaniards have been extracted in VRS Studio (like their „Apology for Pathology” and „Hospital Carnage” albums), so the sound is satisfying, very similar to the split with Dead. Musically I didn't expect any surprises, what's more, the first one „Buried in Viscera” delivers everything Haemorrhage is loved for: being one of the longest piece in their discography clocking in almost four minutes with slow, fast and absurdly fast paces, catchy riffs, obnoxious vocals, long guitar lead (all right, it's not obvious for them), mortuary-like atmosphere. Yeah, it's perfect for me. The second „Chainsaw Necrotomy” known from aforementioned split with Dead hasn't got an introduction, in turn „Reamputated” lasting one and a half minute fits into the pattern of merciless short gore choppings, such popular in Haemorrhage family.

Disgorge part is really worth a damn, as it is their last created stuff so far. And bringing some dates on the operating table: recorded at Inzonic studio in 2009 during two days and released as „Morgue Metal” two years later. The count is easy: eight years have passed and nothing indicates I will see new album this year (or ever???). Ok, first of all, I don't agree with some opinions the realization of sound ruined this Mexican side. For sure it differs from „Gore Blessed to the Worms” (same studio, same engineer) which has more human, but still deformed, face. This time, the sound is focused on extreme rawness and harshness and shrithes to the well-known Swedish dimension sometimes. Musically each song has something interesting to offer, providing very energetic and severe portions of sonic lunacy. Yep, there are pace changes through the whole, there are diverse Edgar vocals that prove he's not worse than Antimo himself. The four tracks flow with sickness and inconceivable putridity cumulating in closing „Corpus in Pest”. Its ending slow mesmerizing part, similar to „Pest.Blood.Metal” fragment from last album, just left me speechless making this track one of the best in Disgorge's anatomic crusade. Such catchy rhythm one may find in „And the Pus Goes On”, just like obscenely slow beginning of „Putrefest”. For sure, there is no space for jokes, everything is dead serious, still with gentle touch of „Symphonies of Sickness”, but mainly with its own ideas and corporeal morbus charm. And it's pity these thirteen minutes are the last bricks for the goregrind morgue, but I return to it very, very often. That's right, „Morgue Metal” as another kind of metal fascinates me hugely, being one of the best splits in my collections... But wait, didn't you hear, the doorway has just been closed... It's morgue time!


(written in February, 2019)