SARCASMO - De Ocultis (2000)

Death Is Just a Beginning...

I did not plan to write this review. I mean, not right now, in future, maybe distant... You know, that's pretty obvious for such a music: impressive and important to me. Nevertheless our life always does its own thing, whether we like it or not... Well, February 2^nd is a very special date for me, not only that my daughter was born on that day fifteen years ago, but due to the death of Mario Medina, the founder of Sarcasmo and Amabilis Insania, the guitarist, the vocalist. The friend of mine. As usual, such a piece of news is kind of a shock. It's completely incomprehensible and unexplainable! Being in constant contact with Mario since ages (to be more precise since the ending period of the nineties) I still cannot believe it, even in January I sent him some pictures showing Polish winter. He was just curious...

How did I come to know about Sarcasmo? Not sure now, probably I saw a flyer in some zine. Or was it a single flyer that arrived to me in one of the countless envelopes at the time? The rest was simple, I wrote a letter, and soon I got the tape with „Searching the End from My Past” demo released in 1998, however it didn't come with original cover art. Mario recorded it by himself and it became something spectacular in my collection shortly thereafter. The first side consisted of mentioned four Sarcasmo demo tracks and a half of „Prehispanic Beg” from Xipe Totec, the b side with some songs of The Chasm coming from their „From the Lost Years...” album and three songs from debiut of Dies Irae „Etherial”. And even if I knew perfectly The Chasm back then, I went nuts for Sarcasmo and Xipe Totec as well. Sarcasmo prepared four exciting songs, rather long kept in Mexican death metal standards with gloomy doom passages, yet some melodic fragments were present too. For sure „Depression Moments” and the closing „Unconscious of My Lost Identity” were the evidence that the band didn't want to be limited in any way...

...and after two years another title has been thrown into the underground depths. I wasn't surprised seeing „De Ocultis” tape in my letterbox as Mario promised me that. Originally it was released by Portuguese Luci Dist, yet something went wrong and the band decided to turn to Joel from American Line to run a small limited edition for American distribution. And such a version I own still working to this very day. The band prepared nine new songs clocking in 46 minutes with Mario lyrics based on psychology topics written entirely in Spanish. As for production, this time I got a bit softer sound of guitars and drums lacking its power sometimes, especially during faster fragments. Yet it is raw, rough and slicing. But it isn't the most important thing, as Sarcasmo executed their own visions a different way. For certain they became more matured musicians and „De Ocultis” is just a better stuff to listen to. It is complex, even progressive I'd say and technical at times. But first things first, „Afectos inplacenteros” opens abruptly without any mercy providing two kinds of vocals: typical gutturals (however „Inconformidad y duda” with deeper kind of it reminds me J. Karlsson from Gorement's debut) and more in the vein of Chuck Schuldiner and blackish shrieks, full of passion and emotions. Such combination is a definitely added value to the whole. The song is divided by quite surprising subtle rock-like part and then at 2:40 the guitarists perform absolutely amazing leading parts reminding me a second part of the title track from Xipe Totec „Prehispanic Beg”. Similar emotions, similar feelings, really awesome after so many years...

As compared to the mentioned demo, the band slowed down. Yep, there are faster parts in „El retorno”, „Viscisitud” or „Disolucion de ideas”, but the main musical key is to fill this offer with many great balanced ideas at the expense of furious speed. The riffs are rather catchy yet they do not let name the genre melodic, but leads are... Yes, there are fantastic leads! And there are plenty of them, for example the only instrumental called „La relacion inexistente” has got five such guitar explosions, what's more, the fourth in the running order is simply beautiful, I'd say even fabulous, full of immaculate pleasant warmth and giving a new hope for... something better? In turn, „Disolucion de ideas” comes with lead performance lasting over two minutes where tension is created with every single second, in „Fuga de dudas” leads got quite strange sound. For sure Sarcasmo liked to bring nasty surprises: just take a listen „Inconformidad y duda” with experimental guitar sounding and two kinds of clean vocals, the second part of „Escape a la verdad” when the music turns towards art rock dimension supported by jazzy licks or breathtaking parts that start at 1:40 in closing „Intentos”. It is hard here not to mention about rhythm section. The bass had its own place in previous demo and during „De Ocultis” there is a room for its thumping display as well. The drums are far from standard patterns, as they split the silence a perfect way (with the best example in „Intentos”, probably the most broken in the family). The progress between the demo and „De Ocultis” is noticeable but I repeat: they should be louder in the final mix.

To summarize the words I may write that this title, just like the previous one, stood the test of time. Absolutely no second included has been devaluated, moreover, „De Ocultis” belongs to one of my favourite releases ever heard, not only while speaking about Mexican scene. And I am not writing it to gain any empty plaudit. Also I am not writing it because of our longtime friendship. No. Mario perfectly knew my opinion on Sarcasmo work and considered me a true and sincere supporter of the band. The review is a kind of modest elaboration of my thoughts once sent to him resulting from one thing: only music counts. I realize that Sarcasmo is still unknown crew in the undergroud, especially now when there is no single day without a new band established, but I'm just a lucky man knowing it, probably by heart and by soul. It still exemplifies all I need from metal recording and it's pity I cannot say it to Mario personally. In 2001 I wanted to visit Mexico and all was planned in detail. Unfortunately it fell through for various reasons, but during those sixteen days I had on my must-see list few archeological sites (Chichen Itza, Uxmal, Mayapan, Coba, Bonampak, Tikal and Palenque) with one day reserved for Puebla time and meeting with Mario. Yes, we failed, but as we wrote in our correspondence: what goes up must come down. And now I think about it positively, however our meeting will be in completely different circumstances...

RIP my brother, I really do hope you'll find peace you deserve for...

97/100

- Tlacaxipehualiztli

(written in February, 2021)

CRYPTS OF ETERNITY 7 (2020)

 

August 2020, 72/A4, printed, English, limited, interviews: EXHUMATION, ATARAXY, MATHIAS FRIBORG, DARIO DERNA, RESONANCE SOUND STUDIO, QUESTION, VASTUM, TUNJUM, ASTRIFEROUS, BLOODSOAKED NECROVOID, CEREBRAL ROT, ROTTEN TOMB, DEATH DIVISION RITUALS, KRYPTS, EVIL PRIEST, CALIGARI RECORDS, ANASTASIS VALTSANIS, UTTERTOMB, CENOTAFIO, DEATH OVER MEXICO, THULSA DOOM, OATH OF CRUELTY, ANGELCORPSE, SPECTRAL VOICE / BLOOD INCANTATION, JULIO VITERBO.

Beside the worldwide interminable covid madness, the past year was pretty interesting when it comes to the underground zine titles. Surely, the newest Peruvian Crypts of Eternity with the number 7 is definitely one of them, being the first meeting with the works of Ricardo Lucas. The evocative front-cover invites into the crypts of death... Yep, this zine is completely dedicated to the death metal genre. So, what we've got here? Layout is computer made with some really compelling graphics, not eye-burning fonts and both white and black backgrounds. The whole is pretty clear, however it would be better to see some inties (questions / answers) separated in a clearer way. As for bands content, Ricardo did really fantastic job featuring many exciting names with rather comprehensive answers, although Ian from Cerebral Rot treated it a bit laid-back and for sure I expected more from the last Mathias answer on Black Mass Pestilence tour and Mexico in general. Either way, it's hard to choose the absolute leader as nobody has failed as a matter of fact. Of course, my heart started to pump the blood much faster while reading Julio Viterbo chat and his role in the mighty The Chasm, being for me one of the best musical acts ever emerging from the underground. Anyway, absolutely absorbing piece to read, from Julio's beginnings in Tormentor and Shub Niggurath to his last so far activity in Cenotaph and Heavens Decay.

All right, let's carry on, those interviews belong to the highlights of the issue as well: Ataraxy (this is my first reading meeting with the Spaniards if I well remember, both musicians gave interesting and long answers, just like the music they create), Dario Derna where Ricardo asked about many acts he has been / is involved in (Threnodist, Infester, Evoken, Funebrarum, Drawn and Quartered, Ritual Chamber), completely unknown for me Peruvian Tunjun or Paul Riedl concentrating on Spectral Voice and Blood Incantation. It's worth to mention a commemorative while with Gene Palubicki, as Ricardo build an altar for „Exterminate” album his home. It's hard to believe this album is 23 years old... All the inties runs quite smoothly, the editor is an experienced devoted death metal freak with questions related to music, lyrics, recording gear and death in general. As it's has been published in August, 2020, coronavirus is an unwanted hero between the verses too: several topics deal with Death over Mexico gig that took place in March last year, being one of the last festivals before the pandemic lockdown. Great that Ricardo managed to ask Gerardo Lugo about it. And I found one small sport trace, Ricardo hails Roma and Francesco Totti in Thulsa Doom chat.

Amid these pages, there are merely 31 reviews of music. Ricardo's method of dissecting is rather perfunctory, just like the stuff written by his collaborators, yet they give a proper guidance and informations, I really had a hope to read about more titles though. But the baffling thing is: no zine reviews included! And if we are still in 'describing section', The New Blood from the Uku Pacha should be mentioned, where Ricardo gave a place for three young Peruvian bands: Hell Trepanner, Arkhon and Antropomancia, more complex than the reviews itself, with the news, line-up and the like. Two more bands (Disburial, Archaic Tomb) got such a space too, reminding me a method from the old zines – I like it a lot. On the end one can adore the only live report from... 1990 with Morbid Angel that is written with unconstricted passion by Eduardo Slayer. Summing it up: this issue is yet another very fine title in my paper collection, however I'd like to see less advertisements next time, yet the whole is really enjoyable, it smells underground, it smells death metal to the core. Yep, exactly, next time... Who knows what future will bring because Ricardo announced a break (interview from Necromaniac 11) in his zine / label activity. Hm... I do hope Crypt of Eternity will open once again and infect the bowels of the underground.

cryptsofeternity@outlook.com

9/10

-Tlacaxipehualiztli

(written in January, 2021)

FORGOTTEN CHAPEL 10 (2020)

 

September 2020, 72/A4, printed, English, hand-numbered, interviews: PHLEBOTOMIZED, PERPETUAL HOLOCAUST, VIEW BEYOND RECS, RUHO, SUFFER, UTUMNO, WOODS OF BELIAL, KOLAC, OLD COVEN, NEMBRIONIC, KRASHING, BEYOND BELIEF, MARTWA AURA, CROSS FADE, JIM MUTILATOR, REPUGNANCIA, ERUPTED EVIL.

Fast glance at the cover with Garristown old church and everything is clear: new Forgotten Chapel zine is ready to be dissected. Finally, after five long years, in this fucking completely unpredictable season. It has been confirmed in several words of introfuckinduction, editor's daring plans got painfully verified by daily life. Luckily, Fogotten Chapel opened its gateways once again being number 10 in Mateusz ongoing zinecareer. His choice of featured crews in this jubilee issue is mostly sentimental journey into the past, sometimes becoming an art of archeology as our adventure begins in ancient Greece, not because Jim Mutilator has been interviewed, but due to philosophical concept of Aristotle on music itself. Rejecting great Greek philosopher thoughts whatsoever, I dived immediately into the ominous halls of the Morgoth's stronghold. Yes, Utumno. Despite building an altar for „Across the Horizon”, I can't now remember if I have ever seen any talk with this band and despite I was expecting something unusual, I got just a decent one. But as for a real reading highlight, I stay in the land of Sweden. Suffer nailed it, as Perra gave really interesting answers. Then, being still in Europe, I move to the Netherlands. Yes, I can feel that, Mateusz loves this country serving stuff from Phlebotomized that opens the issue, Nembrionic and absolutely fantastic Beyond Belief (attitude in the underground, the answers – the true essence, but, damn, one answer has been cut off). Worth to check out is definitely Kolac with long full-informative answers, however it won't change my impression that Serbia is still exotic land in Europe. Then, two representatives of South America: Repugnancia from Peru with three questions merely but veeeery long and exciting (it's a part, full intie in Legion of Torture zine) and Perpetual Holocaust, the shortest in the family and the only one being just average. The issue features two Polish acts as well: very popular currently in zines Martwa Aura (very decent piece provided by Diabolizer, the editor of Worship Him zine, and yes, „The Final Countdown” album rulesss!) and Erupted Evil.

There's nothing to complain about: the zine looks oldschool, sometimes really organized, sometimes a bit chaotic (Necrosanct), and it smells oldschool as the issue has been buried for several days. Nobody should be surprised after reading Mateusz's previous issue, he is still following the same dark and rotten track, he is an old campaigner, he has got his own style absolutely. As for the reviews, kept rather a shorter way, yet totally comprehensive, with general number of 106 music (however Galvanizer's „Rehearsal Tape” isn't a review, but it is fully explained) and 16 zines. He dissected some bootlegs from Paradise Lost, Trouble and Exodus as well which I found a great idea. Also we can read about some very old zines. As compared to the nine, there's no „Return of the Vinyl Man” (luckily Tape Ghetto survived!) and live reports which is easy to understand, yet Mateusz included one short polling on front cover artworks and one, rather sad in its purport, article called „Collector's rant”. His archeological acumen confirms „Old Rotten Not Forgotten” section with such names as Dissect, Dark Opera and Ascaris. Summarizing, this is really interesting piece: horror inspired and metal obsessed with a tribute to cut'n'paste execution, we've got it all and it's good to know that Mateusz is not going to cease his paper crusade, the issue number 29 is scheduled on 2108! And one more thing on the end, let me quote some editor's words: „Zines were blood of the scene once, now they are artefacts”. Well, I cannot dispute with that, it's just the face of our modern times. In a nutshell, I can't wait for his next move.

9/10

- Tlacaxipehualiztli

(written in December, 2020)    

HAEMORRHAGE - We Are the Gore (2017)

 

Goreality: Ceaselessly in the Line of Duty

There is a common affirmative that it's always better late than never. It perfectly refers to the seventh album of these Spanish goregrind masters and my, let's say, review that is taking a shape right now. Despite fantastic front-cover drawn by Luisma himself, I needed three long years to write something about it... and it is not an easy task. Not because the Spaniards started to explore post/sludge/djent/stoner/shoegaze dimension. No. They are still on the Relapse roster, they are gore as the album title proudly informs. The reason is quite clear, as they served cosmetic changes in musical territory only... and I'm really delighted to listen to the final result. First of all, they had to face another drummer line-up change. Then, the production size, I tell you, this band hasn't had such a powerful sound before. I mean, powerful = modern. Yes, exactly, the Spaniards sounds a modern way: as compared to „Hospital Carnage”, the seventh has been recorded and mixed at Mpire Studio, and mastered at well-known Audiosiege. Guys, it worked!

As for the line-up, definitely Ana took the leading role in the family. She played way more leads than before, and what's more, only three songs doesn't contain it. They are kept rather a simple way, yet with quite melodic and memorable touch. Willy-nilly it extended the songs with the shortest one „Bathed in Bile” clocking in 1:47. Sometimes those leads are completely new method of execution, just take a listen to „Medical Maniacs”, „Miss Phlebotomy” or „The Cremator's Song” with even rock charm. For sure I didn't expect I would be focused on the leads during the review start. But this is the natural way of progress I guess and no-one can miss it. The Ana work really fits to the gore core.

Yep, I repeat myself, it's not an easy task to write something new on Haemorrhage new album and not being banal and boring. The main base is still the same: organs mutilating goregrind. Here I get an impression the band slowed down a bit, but I cannot call it a slow album. No, there are masterful destroyers like „Gore Gourment” with some vocal help from Ross Sewage and Sean McGrath or „Transporting Cadavers”, but the there are measurable slowdown parts (title track or the second part of mentioned „Bathed in Bile”) as well. The album delivers many grind-musical and lyrical hits with the best examples in the title song, „Medical Maniacs”, „Forensick Squad” and „C.S.C. (Crime Scene Cleaners)” to name a few.

And I may write once again: I got what I have been expecting for. Within the obvious and once intended patterns and standards, it still has got passion, vitality and unbelievable force I follow without a blink. The music, the vocals, the overwhelming gore aura, nothing is changed. All enclosed with the „We Are the Gore”. And finally, I'd like to mention two things. The vinyl version contains one bonus track called „Artifacts of the Autopsy” and... it fucking rips my cardiovascular system out. It seems to be forgotten treasure (of anatomy) from „Anatomical Inferno” session and it's really great it ends this piece of the black wax. The second thing, referring not only to the album's title, but to the whole Haemorrhage discography and acivity, is album dedication to all pathologists, morticians, nurses, embalmers, funeral directors, undertakers and all people working in this disguisting side of life. To put it briefly, full respect to the these Spaniards!

96/100

-Tlacaxipehualiztli

(written during covid months of September and October, 2020)

VAGINALLUFTWAFFE 8 (2020)

May 2020, 44/A4, hand-numbered, xeroxed, Polish, interviews: MARTWA AURA, VACANT BODY, MORBID WINDS, SATHANAS, HYPERDONTIA, GRAVEWARDS, BURIAL IN THE WOODS, ELIXIR OF DISTRESS.

I did not go wrong this time and purchased the recent, still hot issue with the number eight immediately after hitting the bowels of the underground. As for size, layout and such stuff I could copy and paste my previous VGL reviews. It's been released in the same form, it does not really develop anymore and... I do not need any changes. The front cover greets with a dark, obscure picture and on the start I have another three bands that screwed up and didn't answer. Really strange as all are on Polish Fallen Temple roster. Pawel cares for wood resources and there's no single place left empty, just take a look on page number 4, as he put one review under Martwa Aura chat. Ok, let's go the content: the eight consists of eight interviews, but let me describe the weakest ones for starters. Hyperdontia, despite having quite huge impact here and there, completely failed. Pawel explained the case in words of introduction preparing pretty much interesting questions, but in the end I got terrible answers and two of them without any words of explanations. What's more, there are many editor's necessary footnotes which isn't a standard thing for VGL. The contest on the biggest lame of the issue is finally settled. In turn, Sathanas gave a shedload of laconic answers shorter than questions making this intie average and totally forgettable. All right, I guess all my whinings are over, because the rest is pretty decent, good (Martwa Aura that opens, Vacant Body – the shortest with only ten questions yet definitely concise, Gravewards, very interesting with ten questions as well, unfortunately it ends too abruptly) or just very good. Polish Morbid Winds, new blackish beast, proudly opens the remaining trinity, giving fully informative friendly chat made in last April. There is no surprise here as Diabolizer (in alliance with Cryptic Lust), the band's drummer and Worship Him zine editor knows the subject perfectly. In similar way Elixir of Distress shines through pages, however I found it as a great complement to the interview from R'lyeh 15. And the third one lastly: Burial in the Woods led by modest Gerileme again with very interesting chat, definitely to check it out. The answer on question two has got a funny (or not, it depends...) typo though.

As compared to 7, the font has been changed into smaller size, however still being readable and not causing an eye pain. The old sin with midsentence capitalized 'and' conjuction didn't disappear, there are some spelling mistakes as well. Due to reduced amount of pages, the review section offers 20 zines (in the case of this zine, I even would write only 20...) and 135 musical different formats written with using the same rules as always. Flabbergastingly, this time the Chilean ungerdround isn't the leading force. The live reports are present too (7 described visits). Then, the page 2 features nice science and history section – good move, clever and interesting treat, especially when it comes to the person of Herodot. So, allow me to capsule this issue: VGL doesn't disappoint providing a few hours of pure hellish underground reading once again. I expected solid stuff from experienced editor, and I got such. And for sure, questions on non-musical topics (for instance, ecology, Earth's overpopulation, historical facts, burials) are an added value. Fully recommended, no two ways about it.

cold666@tlen.pl


8,8/10
-Tlacaxipehualiztli

(written in June, 2020)

VAGINALLUFTWAFFE 7 (2017)

September 2017, 58/A4, xeroxed, Polish, interviews: RAGEHAMMER, GALVANIZER, OPPENHEIMER, LIVING ALTAR, COUNTESS, DEMONIC RAGE, TOTTEN KORPS, REVENGE, TYRANNIC.

Despite quite positive review of the previous issue 6 from 2014, somehow I missed number 7. And you know what? Nothing rather has been changed: still I deal with old-school layout and cut'n'paste method of execution. The reading itself goes definitely smoothly, the font is my friend, not an eye-burner. I wrote 'rather', because it has got slighlty better cover art and the interviews are preceded by some short intro: one or two sentences and the subject is clear. Pawel, the editor, admits once again that the process of zine creating isn't an easy ride. It's very hard to argue with that, and I'm fully excited another title hit my modest collection. Ok, as the bands are concerned, there're nine crews in the menu, what's interesting, only two of them come from Poland. Ragehammer opens the thing up and this is killer, to put it briefly. Friendly, with easy flow talk, but Tymek's attitude is not an exemption in any form. Then, the Finnish Galvanizer gives me an interesting meeting supported by surprising sense of humor. It's a shame, but this is still unknown for me during the review, but for sure this VGL issue made me to act. The third one on the list is Living Altar coming from Lithuania and... we have got the winner. Dainius, the drummer, is an astrophysicist and Pawel knowing that fact, led the interview in a really splendid and absolutely interesting way. Very good questions, very good answers (and one pretty shocking for black metal die-hards on Archgoat lyrics). Two next nice causeries with Demonic Rage and Totten Korps, the representatives of Chilean hell, give some exotic and nonexpendable aura to the whole. What do I need more? But at the other end of the spectrum I'd place Oppenheimer which is a typical black metal yarn that brings nothing new to the matter. In turn, Revenge wishing for humanity to be annihilated in nuclear holocaust (believe me, the Earth itself will be faster), turns into load of nonsense with its acme in the fourteen answer...

To sum the issue up, I didn't notice any signs of professional burnout or loss of form. Some nice additions from daily press, culinary guidance how to prepare human flesh to eat and the crossword brighten the serious reading time. No needless questions, no commercial sections, but still with this strange typo using 'and' as capitalized conjunction. As for the review part, it's enormous and overwhelming. This time I got 48 zine (rather more complex) and 141 musical opinions with names I have never heard about, for South-East Asia hunters one comes from Brunei. Served precisely and to the core, it's easy to detect editor's taste, yet I have an impression that this part of VGL has been patronized by Chilean government as many of them praise the stuff from this country. But truth be told, I cannot remind now any weak Chilean recording or review. Then, Pawel didn't forget about live visits and gave six reports written in simple but truly enjoyable way. So, on a final note, the pages assure an underground atmosphere all the time created by experienced zinewriter and a complete metal freak, so there's only one thing to do: support his doings.

cold666@tlen.pl


8,5/10
-Tlacaxipehualiztli

(written in June, 2020)

KANDARIVAS - Grind Surgical Shrine (2019)

Grind Taiko Shrine Shines!

A big surprise coming straight from the land of Japan. The Ep is fourteen minute of... experimental grindcore as the band comes with some help on their sites. And to put briefly, it's almost impossible to dispute with such a fact. Led by Tomoki armed with guitar and different kinds of vo-kills, they use two drums, the standard drum set demolished by Onobone and taiko (or wadaiko) played by Kaiki. And this third instrument I consider to be experimental for sure, as I have never heard anything like that in such a genre. The main question occurring to me is: do they fit to the whole?

But from the start, these minutes runs extremely fast, the tracks differ in length, from „G.S.A.” song lasting fifteen seconds only (and the only one that falls under one minute) to broken a bit and more complex, if I can say so, „Fuminijire” which is almost three-minute monster. Of course, as mentioned above, it is kept simple and directly to the (grind)core, yet for the Japaneses the light velocity pace isn't the main guideline. What's more, I have an impression that slower parts dominate, just listen to this absolutely crude roadroller-like „Hakikudashi”. Even in the shortest one there is a small room for breather. The production-wise has got a clear underground flavour, guitars are sharp and rough, however taiko sometimes lose its place in the final mix. And those traditional taiko are present all the time, giving its first breath on the very beginning, and for sure being just good and very interesting addition. By using it, the stuff gets archeological (yep, it sounds strange, but the first usage in Japan has been dated on the sixth century C.E.) and tribal touch definitely, and even mysterious, as the origin of taiko is still unclear. Anyway, including Kaiki to the line-up is really bold and great idea that works without any hindrance.

The music itself is pretty varied. Some parts are just a highlight for headbanging, other do a complete sonic havoc where there's no place for escape. All balanced and despite some chaotic layers, well-thought-out and executed with precision. Musically speaking, I would be prone to place them somewhere in Takafumi Matsubara dimensions with the best example in „Fuminijire” (really good to be a track for „Longhena” album) or „Dissemination”, being a proper thing for his last solo title. Of course, I cannot forget about the vocals, they are delivered by each of them, throat grunts, agonizing screams, yells, shrieks, and some kind of chanting („Dissemination”, „Kobudo”), so I tell you, all the vocal bands madness included. Concluding, there is a vision, there is an idea. This is sick and organsmashing. This is different as well, not only in musical terms, just look at them.

80/100

-Tlacaxipehualiztli

(written in June, 2020)

BLOOD INCANTATION - Starspawn (2016)

I Am the Portal, I Am the Stargate

Everything Is Cosmic.

As I promised myself some months ago during „Interdimensional Extinction” space journey, the review of the debut „Starspawn” is now taking a shape. What's interesting I guess, I have already bought their second album which awaits its first listen, however I just do not want to be infected in any form by a new release while reviewing it. The debut, released on August, 18^th, 2016, has been bought by me one year or so after the date and it wasn't an easy task. The Denver madmen became quite popular in the underground, giving the spectacular shows here in Poland. Unfortunately I wasn't able to join them in their cosmic presentation in Poznań with Cruciamentum, on March, 2017. Eventually I saw them during 2018 edition of Brutal Assault. Yes, I saw them and got crushed despite small sound problems with guitar leads. Anyway, someone's opinion on the band is one thing to make you spending money, in my case, the most important was the interview with Paul Riedl in „7 Gates” magazine (41^st issue), which is one of the most exciting stuff I have ever read to date...

Blood Gets Vitrificated.

…and according to Paul's words, the only purpose for Blood Incantation's existence was creating sick death metal with bizarre and twisted riffs completed by dark metaphysical and spiritual lyrics where one may find the alien hybrids, zen quantum theory, transcendalism, nihilism, mysticism and esotericism. And you know what? Paul didn't lie. The band opens the star gate with „Vitrification of Blood (Part 1) track, a real deadly beast lasting almost fourteen minutes! And during those countless listens it became something more than 'just the opening song'. Without any needless introduction, quite slowly like a road roller to finish the song like a supernova consuming everything on its way. So, what can be found there? From phenomenal guitars layers (both riffs and leads) to merciless onslaught of rhythm section, from massive slow almost doomish parts with overwhelming atmospheric vibe that no one can miss to furious ones ripping the air, from broken complex moments to more simple methods of execution. Yes, this song is a cosmic feast. This song is a complete death song. And I tell you, I couldn't pave the sound realization over. This time, unlike their previous Ep, it got only analogue life and it sounds simply superb, vivid, organic, carnal. But what about the rest? Only four tracks and somebody may complain it's not too much. In terms of numbers probably it would be right, yet it's enough to praise the title for good as the „Starspawn” hasn't been filled by any accidental sound or moment. And as the influences are on the table, I met in different reviews such bands like Morbid Angel, Gorguts, Timeghoul, Demilich. For me, if some touches of Finnish „Nespithe” are perceptible in riff construction from time to time, I should add Mexican The Chasm in this place when the general atmosphere is concerned. But if the Corchado crew explore more down-to-earth dimensions, Blood Incantation takes me into something unknown far beyond any understanding... into something more ominous...

God Equals Space.

This space driven madness is short yet truly intense and completely sense exhausting journey. As compared to the previous title, the progress is absolutely dominant. Even if it is released in 2016, I wouldn't be surprised to find it somewhere in the eighties / the nineties and with first single spin it became just a classic death record. But wait, is there anything that doesn't fit? Well, not really, however I still can't warm to Don Dixon's cover art. Ep's artwork was spectacular, „Starspawn” picture, beside great logo is preserved, is one of many unfortunately. But it is easy to swallow, as the music counts. So, trying to sum the thing up: these 35 minutes are definitely spawning of another star in death genre firmament. Metal, Skills, Vision. I listen to it only when I have free time to do that. The whole. No piecemeal. By all me. Devotedly. Just paying tribute to the Space itself.

...no death as known, only doorways...

97/100

-Tlacaxipehualiztli

(written in 2020)

BLAKE'S VENGEANCE - 7747-7744 (2014)

Milan Green Blade

The debut of Milan based Blake's Vengeance has a similiar story to many titles in my collection. You know, in many cases, there is only one master: a lucky fortune. Knowing nothing about the band, first I saw it on Selfmadegod Records site last year, in new arrivals section. The front cover, bathed in green (remember, Overkill was absolutely first!), wasn't anything encouraging, yet I decided to give it a chance: one fast listen to the opening song and here is my cd version. Originally released as a digital demo in 2014 with different logo and cover art, then one year later on cd with changed logo, cover art and titled as „7747-7744” and the green reviewed copy, the last edition so far from 2016, this time under the wings of Polish Defense Records. And to put it briefly, the label should be awarded for such a neat and surprising move.

Surprising? No! The combination of two different numbers couldn't be omitted. This demo brings almost twenty minutes of music deeply rooted in thrash and heavy metal with definitely clear technical touch. Another recognizable element of this puzzle is clever using of melody, both in riffs and spectacular leads. But the very first thing that got my attention was the vocal lines of Davide and his manner reminding me Eric A.K from the eighties period. So, is it possible the famous singer has got younger brother somewhere in Lombardy? Of course no, it's not like that. Anyway, Davide's voice sounds great and really fresh for me.

Giving Flotsam and Jetsam vocalist's name as an example above doesn't refer only to it and has its own reflection in musical layer and some influences from Phoenix legend are audible. What's interesting, it seems the Italians know perfectly two first classic albums „Doomsday for the Deceiver” and „No Place for Disgrace”, yet I found references even to „High” from 1997, however demo hasn't got such fast paces, rather being maintained in moderate speed. Yes, there are short faster moments in the second half of the opener or in „Blind to the World”, but it isn't the key here. And as for heavy genre in general and pervasive catchiness, I would indicate the Iron Maiden shades. And such a bag of ideas is something really compelling. Lightness, facility, openness, with use of great skills where technique isn't a mindless display, make the stuff pretty accessible. And absolutely fantastic!

The production side is an added value as the whole sounds exquisitely. Hard to believe it's just a demo. And hard to choose the leading song. For sure, „Ronin” has a chorus that cannot leave my head and I often catch myself on singing it during my work. The longest one here, with splendid guitar leads lasting over one minute, there's even a room for drum solo. In turn, „Blind to the World” is like a semi-ballad due to its mysterious, eerie guitar parts, in some definitely strange way I could compare this track to the beloved „Escape from Within”. These twenty minutes run very smoothly, with not a single boring second, and I've got a real pleasure to listen to it, as I face the metal thing it should be played in such a way in this genre. Despite of mentioned bigger names, the demo sounds very fresh, vivid and quite... original. On the other hand I am a bit concerned as the band hasn't recorded anything since 2014. Yes, as opposed to the opening song title, they are still alive according to their social media and I do hope to hear something new in our current very hard times. All right, on the end, this music is yet another great evidence that using sounds once intended and played, there is always possibility to create very good music supported by own talent, skills and visions, not being locked down in the snares of soulless imitation. Believe me, Blake's Vengeance has got it all.

90/100

-Tlacaxipehualiztli

(written in March, 2020)

HYPNOSIA - Violent Intensity (1999)

No Dormancy Detected

Being on my must-have thrashing list since the ages, the title joined my musical treasury last year eventually, and ya know, I bought it on tape just like my first own records thirty years ago. It was released by Iron Fist Productions in 2018 which is in fact the same label responsible for 1999 cd edition. And to put it briefly, the title doesn't lie and nobody can be wrong, as it brings violent intensity only. This seventeen minute Ep has something like a short guitar introduction called „Funeral Cross”, turning smoothly into „Hauting Death”. Almost four minutes and all is clear: the band delivers furious piece of thrashing whipping, where apparent traces of Sadus debut and „Pleasure to Kill” combine, even Mikael vocals are a fusion of Darren and Mille. With skill, the Swedes move between two different thrash stylistics, in turn, „Undead” and „The Storms” have got a distinct touch of „Schizophrenia” when the pace is slow down a bit.

These five equal shots don't let me sit snugly in my lounge chair, however I cannot tell they boogie down indiscriminately. No, there are slowdowns used to be rather a small breath before another merciless attack, as well as well-though-out guitar leads, short, rampant, and longer, more complex with the best example in mentioned „The Storms” that ends the whole. For sure, the production side really helps the thing to be absolutely hot, especially when it comes to the work of rhythm section. It slays and always great to hear a thrash band putting the bass lines in such a way. I wrote the songs are kept at the same level, yet I lean towards „Perpetual Dormancy” to be a leader in the herd, with its perfect beginning and catchy riffs all the time. And believe me, this misleading title is a complete contradiction to the sounds coming from this ripping song.

I wasn't a lucky freak to get „Violent Intensity” when it came out back in 1999. The Ep seemed to be just a typical way of progress I guess, after two demo tapes. Then the debut appeared in 2000 and after two years, Hypnosia went asleep forever. All right, let's summon the 1999 year once again and take a look on Hypnosia main influence: at the time Kreator records „Endorama” album considered to be the worst in their discography, and having nothing common with the thrash roots; Sadus, after releasing „Elements of Anger” (which I really like!), the most experimental and... with no (almost) thrash shades, goes to inactivity / hiatus era. So, what is the point? This reviewed Ep was like a medicine for the times when thrash music was in hiding and even now, it's a musical cure, as there are not so many bands unleashing such kind of thrash. And such kind of straight insanity.

85/100

- Tlacaxipehualiztli

(written in March, 2020, dedicated to Mike)

GRAVEYARD / MORBID FLESH - Split (2018)

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.

93/100

-Tlacaxipehualiztli

(written in December, 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?

80/100

-Tlacaxipehualiztli

(written in December, 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...

93/100

-Tlacaxipehualiztli

(written in November, 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...

85/100

-Tlacaxipehualiztli

(written in October, 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.

70/100

-Tlacaxipehualiztli

(written during July and August, 2019)