One of my favourite albums from 2012, and probably my favourite Death Metal album that very same year (and in many years), must be Ævangelist’s De Masticatione Mortuorum In Tumulis. I did refer to it in the review I recently did for Ævangelist’s newest album, Omen Ex Simulacra (see update February 8th 2014).
It wasn’t quite the case during the early years of this band, but since about a decade, I find it quite an exciting experience to listen to new material by German act Eisregen. I couldn’t really enjoy the first albums they did, but as from half of the 2000’s, they do draw my attention, for the material became much more interesting. The band comes close, in mean time, to its twentieth anniversary, and with Todestage, they deliver their tenth album.
Everything I, Voidhanger Records (an independent division of Aeternitas Tenebrarum Music Foundation aka ATMF Records) do is of a superior quality. This wonderful label releases nothing but excellent stuff, and this time it is not different. With Converge, Rivers Of Hell, this Italian label compiles material from three solo-projects by an Australian guy who calls himself Dis Pater (I have no idea who the person behind those projects is, but actually it does not matter, does it).
There are many bands that are called Abyssal, but this review deals with the second album by the so-called band from the United Kingdom, recorded shortly after the release of 2012’s Denouement.
This split-album - and indeed, I am directly going ‘into’ the actual review - starts with three tracks (Deonte, Oblitus and Dolore) by Salem, Oregon-based act Hell, a solo-outfit of former Merkstave and Elu Of The Nine member M.S.W. Once again, his contribution is an aural definition of desperation, suffering and anger, translated via slow-paced tunes of Drone, Sludge, Funeral Doom and Black Metal.
Amongst the (many) bands that do not really need an introduction for being a kind of ‘legend’: Deicide! More than two and a half decades of experience, ten studio releases (some very good, some shitty, and some in between), and an enormous live reputation (though often contested), this are but a limited view on the glorious existence of these American sweethearts, once coming to Earth to make blasphemy a religion on its own. Hail!
This split-album - and indeed, I am directly going ‘into’ the actual review - starts with three tracks (Deonte, Oblitus and Dolore) by Salem, Oregon-based act Hell, a solo-outfit of former Merkstave and Elu Of The Nine member M.S.W. Once again, his contribution is an aural definition of desperation, suffering and anger, translated via slow-paced tunes of Drone, Sludge, Funeral Doom and Black Metal.
Hailing from Springfield, Illinois, Suffer The Wrath have created two self-recorded EP’s before, Suffer The Wrath and Buried In Blood (2009 and 2012 respectively). Right now they are working on the debut full length (which will probably be entitled Opposition Dethroned), but for now we will have to do with the band’s third EP, Divine Sign, which was recorded entirely (engineering, mix, mastering) at Manuf(r)actured Media with Jon Dale.
Young Greek act Satan’s Wrath (line-up: founding members Stamos K on guitars and vocalist Tas Danazoglou, with guitar player V, bassist Costa and drummer Nathan Perrier) return with Aeons Of Satan’s Reign, after last year’s Galloping Blasphemy, an album that I did appreciate a lot for its simplicity and honesty (and fun!). Aeons Of Satan’s Reign has duration of 42:28 minutes and continues the path once created via higher mentioned 2012’s debut.
This split-album entitled Operation: Enduring is rather unique, for both acts involved have something remarkable to add. When it comes to Rot In Hell, it has to do with the newly-created approach they introduced, leaving the Hardcore basement in favour of the apocalyptic Neo-Folk tradition. When it comes to Psywarfare, it deals with the first material in almost fifteen years.
