Necrot - Lifeless Birth

Necrot is a death metal band from Oakland, California who formed in 2011.  “Lifeless Birth” is their third full-length album; they have also released three demos and a compilation.

“Lifeless Birth” is a filthy album that takes the best elements of death metal and runs with them.  Simply put, this is a fun album.  Fun? Whaaaaat?  Can we have fun in death metal?  Of course we can.  This is one of those albums where every track is solid--from beginning to end this album is an absolute blast.  That isn’t to say this isn’t a serious release by a band who isn’t serious.  On the contrary, “Lifeless Birth”, and Necrot themselves, are deadly serious.  But they also clearly love their chosen style of play and they let the listener know that.

Yes, this is an absolute pummeling album with non stop brutality.  But it is also melodic and catchy as hell.  The magic of the album is that it incorporates these two “scary” words so well into their ode to old school death metal without missing a beat that there isn’t any time to complain as I’m  too busy headbanging like it is 1987.  

The band knows when to go full speed ahead and goes to pull back slightly to add little details and intricacies.  Check out the huge groovy riffs that open “Cut The Cord,” that lead to a thrash style attack.  The riffs are subtle in their growth, allowing the lead guitar to add its own layers at 2:08 and 4:52, which hit right after the catchy chorus of “Cut The Cord!” being growled out like the end of the world.

Before I had time to get some icy hot for my neck, the pulverizing riffs of the album’s title track gave me whiplash in under 30 seconds.  The bass is particularly potent here, a deep rumble that is the audio equivalent of being ran over by a train. 

By the time the halfway mark hits, the riffs lay on top of each other for a meaty, thick section that just goes harder by the second, up until the blazing, face ripping solo rears its monstrous head.  The song comes out of the solo without missing a beat while adding in some very killer jams up until the very last second.

As the name might imply, “Winds Of Hell” is a disturbing, hellish landscape of a song that puts a huge smile on my face because of all the old school goodness that constantly piledrives me. At the halfway point, the band switches gears for more intricate riffs..and just keeps throwing them out over and over again.  It is near maddening but gong crazy never sounded so goddamn great.   

The album finishes with the nearly nine minute song “The Curse,” and I hope it's an indication of what the future holds for the band.  The longer song structure really allows the band to flesh out its sound.  Despite the length, the song remains constantly fresh, exciting, and never once allows for any lulls or unnecessary parts, which is how the album is as a whole in the first place. 

This song has a lot of twists and turns; just when it doesn’t seem like it can get more heavy, it does.   When there just doesn't seem to be any ounce of melody, it pops up out of the grime.  A perfect way to end a great album.

Necrot's “Lifeless Birth” is one hell of a ride, a uncompromising album that isn’t afraid to give the OSDM worship some progression even while being such a passionate example of the power and energy of true death metal. 

 

Mother Of All - Global Parasitic Leviathan

Mother Of All is a metal band from Denmark who formed in 2013. “Global Parasitic Leviathan,” is their second full length album, in addition to having two EPs and a split album as well.

Their sound may be rooted in melodic death but it has a ton of thrash elements in it too and it is some of the most exciting thrash I've heard in some time. It doesn’t stop there, however, because I also hear elements of progressive and death metal in the mix too. 

The genres are completely infused with each other, a true melting spot of styles where it is impossible to hear where one begins and the other ends.  This leads to very compelling songs with insane energy.  All these styles and ideas the album represent are so seamlessly intertwined that it never comes off as meandering or spastic.  The songs are very riff based and are constantly pushing forward.  Vocally, Martin possess a searing barking shout that adds to the urgency of the songs

The album begins with “Cosmic Darkness,” and it’s melodic riffs that build up the tension.  Heavy rhythm guitar creeps up in the background and as it all culminates into a thrashtastic movement, the drums nail down these ideas and launch them outward.

The song rages hard with riff and after riff pummeling the song about.  After the halfway mark, melodic flourish takes over the guitars and the band settles into a groove before ending the song with a mild explosion.

The first song is a bombastic performance but “The Stars Already Faded,” offers a more moody, extreme take.  The opening moments tread the line between black and death metal.  Around the one minute mark, the song breaks and goes into a more thrash oriented direction. 

This song reveals another classy element in the album.  No matter what is going on, the songs never rest on their laurels and always inject some kind of catchy hook or higher tempo moment.  I never once got bored with this album, it just wouldn’t let its own style become stagnant.

The bass in “The Stars…” really pops, especially during the more extreme moments.  Near the end more intricate guitar playing arrives before the song ends in atmospheric riffs and fervent drumming. 

The opening riffs from “Debt Crush,” grow and change out from one initial idea, taking progressive cues and incorporating them into a thrash rhythm.  The break in the middle lets the bass breathe quite a bit for a stellar performance.  The melodic passage that comes afterwards feeds back naturally into the tempo ramping up where perfectly placed guitar solos, in turn, lead the song back into thrash metal waters. 

The final song is probably my favorite on the album because it takes every idea the album presents, puts them into a blender, and throws it out in a nearly seven minute epic. It is a good bet that if you like this song, you’ll be all over the others as well.  Overall, the song embraces the melodic side of their sound but incorporates moments of speedy thrash and a progressive mindset throughout.

Mother Of All has released a very impressive and dynamic album in “Global Parasitic Leviathan.”  It is an album that will appeal to a wide range of metalheads.  It offers something for those who want to head bang until their neck falls off and for those who prefer their metal a big on the melodic, intricate side. 

Veriteras - The Dark Horizon

Veriteras is a melodic death band from Seattle, Washington that formed in 2019. “The Dark Horizon” is their second full-length album; they also have two EPs under their belt. 

I haven't heard the band's previous releases so I went into this album completely blind. Honestly, what I heard has blown me away….this is top tier melodic death metal with a blackened edge. It's also catchy as hell. Each song is filled with intricate melodies, harmonies and songs that lodged themselves inside my head for days.

The energy is infectious–every song exuberates a jaunty energy that make this album a very smooth and easy listen—at around 31 minutes this is a collection of songs that begs to be listened to over and over.  

Their black metal influences keeps the songs from being too “happy” sounding, ensuring for every melodic note there is a heavy riff to act as a counterweight. Some of the speedier moments, especially the faster moments, definitely add a lot of heft to the songs even when they are at their most melodic.

Most impressive about the album is how put together the songs are—each element is perfectly paired with all the surrounding ones.  If any one instrument, vocal line, or drum hit were removed, the songs would be changed completely.  The band is really in tune with each other and it shines through the songs.

The album opens with “Certainty,” which is a banger of a song.  It opens with blackened riffs and subtle but sweeping keys. The crisp drumming helps the riffs drive the intensity. The vocals are high growls that sounds great—throaty and demanding but intelligible. Around the 2:14 mark, the song shifts to a more atmospheric tone but the hard driving rhythm keeps it all grounded.

“Abyss,” is instantly catchy with the melodies digging their hooks in deep. The rhythm guitar and vocals provide a steady cadence for the drums to drive a beat into, allowing the melodies to play off these harder edges. After about halfway, the song speeds up greatly but still allows a lot of breathing room for the guitars to weave their magic.

“Sanctuary” is one of the best songs on the album, due in large part to its cold and unrelenting atmosphere not unlike anything from the first WINTERSUN album. This one of the more blackened and biting songs on the album, it shows how aggressive the band can be but they never forget how to keep their melody well balanced into the fabric of the songs.

“Light In The Darkness” ends the album on a high point. The keys in the beginning add a clever accent on the music, making the fervent energy that comes afterwards all the more potent. The drums are devastating here, as are many of the riffs. This song is the best example of how the album sounds as a whole and represents their style well.

I was very surprised by "The Dark Horizon." The album brings back much of what made the hey dey of melodic death so great.

Iron Monkey "Spleen & Goad"

 Iron Monkey is a sludge/doom metal band from the United Kingdom who formed in 1994.  Their latest album “Spleen & Goad” is their fourth full-length album, in addition to a split album, an EP, and two compilations.

I missed out their initial run when they released their self-titled debut and the follow up “Our Problem,” both of which were well praised and are now considered classics.  After their break up 1999 and the passing of original vocalist Johnny Marrow, the band returned in 017 with “9-13” and a new line up.  Guitarist Jim Rushby took on vocal duties and bassist Steve Watson moved from  guitars to bass.  Original drummer Justin Greaves did not return.   This album features Ze Big on the kit. 

Flash forward to 2024 and the band is back with “Spleen & Goad,” a heavy hitter of an album if I ever heard one.  Some might have noticed that there aren't any true surprises on the album, opting for a more direct approach instead of providing twists and turns.  Does that matter?  Hell no.  This is sludge.  Who listens to this style for music that goes off the beaten path?  I want to be pummeled inside and out.  “Spleen & Goad” does exactly what it is supposed to do and I don’t see anything wrong with that. 

As with any good sludge album, this album is built up on riffs, riffs, and more riffs.  From beginning to end, each song offers one thick slab of concrete after the next.  The other part of a good sludge record is the rhythm section.  This album has that in spades, both the drums and bass offering one of the heaviest, most dense performances you are going to find. 

This is sick music for sick people.  The entire album is brash, abrasive, and does give one iota of care who it offends or if anyone even likes it.  

The album begins with “Misanthropizer,” and it is immediately the audio equivalent of being inside a bus when it slams into a wall.  The vocals are pure gravel and grit, almost painful to hear.  Good, what else is needed for an album/band like this?  Absolutely nothing.  The song, and this is indicative of the album as a whole, is at its best when everything fires on all cylinders and becomes a massive wall of sound.  It is super intense and almost dizzying, with a prime example being the movement from 2:38 to 3:02.

“Csp” opens with bass that I’m pretty sure knocked some of my brain parts loose.  Listening to this song with headphones may have been a mistake.  The tempo on this one is more mid-paced, which is great because it lets every heavy second grind into the senses even further.  I found this song to be nearly exhausting, such is its pernicious goal of devastating. A compliment for sure!  The last couple minutes are a massive groove, not unlike a giant boulder gathering speed as it races to crush your body.

What kind of sludge album wouldn’t have any famous hardcore punk swagger and energy?  “Rat Flag” brings the pain with that same pent of energy that is constantly exploding once it finally releases.  Even when the song takes a faster approach, the band never loses its penchant for sweltering, brutal riffs. 

“Exlexed,” is one of my favorite songs on the album; the tone is just so goddamn perfect.  The riffs hit all the right spots, as do the drums which are insanely complimentary even while bringing their own brand of uncompromising attitude. The vocals are barked out like a rabid dog, adding even more insane layers to a song that is already as abrasive as a brillo pad being scraped against the skin. 

The final song, “O.D. Rose'' is the shortest on the album and it's more of an outro than anything.  It’s basically just noise but it works because it acts as the musical version of rubble and destruction, the broken remnants of a world that couldn’t stop its own demise. 

With “Spleen & Goad,” Iron Monkey have released a mountainous album of sickening sludge and abrasive doom that is a special form of brutal.  If you like riffs, intense music, or just stuff that goes against the grain for the hell of it, this is definitely one album you need. 

Vircolac - Veneration

Vircolac is a death metal band from Dublin, Ireland who formed in 2013.  Their latest album, "Veneration" is their second full-length album, in addition to also having two demos and an EP.  So what do I think of this album?

I. Think. This. Album. Is. Insane. End of review.

Just kidding. This isn't the rend of the review. But I wasn't kidding about the insanity of this album. While it definitely isn't progressive or technical, it is definitely imaginative in how it incorporates and shifts through many styles. The soundtrack to going insane? Yep.

Seriously though, Vircolac’s “Veneration” is an album that wears many hats and is constantly changing said hats. Or should that be spikes? Or is that only a blackened thing? Cammo shorts it is, then.

Seriously (again) "Veneration” is an album that kept me guessing the entire 36 minute runtime. I never knew what was around the musical corner from one moment to the next. Some might prefer a more focused approach. That's fine but there are plenty of death metal bands that provide this. This particular one provides spastic insanity and that's just fine. 

As I said, this is death metal. But its also melodic, crusty, doomy, and sometime downright theatrical.

“The Lament (I Am Calling You),” opens the album and gives absolutely no indication of what will happen afterwards. This song is dominated by clean vocals and gentle atmospheric music. What am I listening to here? Some hipsters bandcamp demo?

Then the title track hits with a massive sludge doom death riff that then growls its way into an existence of pure thrashing speed.  The drums are a huge part of the song and steer it well. Groove is splattered throughout the nasty riffs as the song jumps between brutality and Doomed death.

“Our Burden of Stone on Bone,” begins with quiet but dark tones. The skies darken and a crawling riff arrives as a surprisingly emotive solo crawls out of the much.

The vocals are sick as hell and go right alongside the massive, muddy riffs. Seemingly random bursts of old school death and groove laden rot connect the song together. Then it slows down to light textures, creating a somewhat atmospheric backdrop that thrives on liminal spaces.

The album ends in glorious style with the massive final song “She is Calling Me (I. War II. Death III. Redemption).” The beginning is a little disturbing with the shrieks.  The bass absolutely slaps and the feel of the song switches between a hardcore punk/crust dirge and straight up crushing death metal.

This album is a pleasant surprise to my ears and I love how adventurous it is with its risks while still being an unrelenting death metal machine. This is death metal how it was always meant to be played: raw, dangerous, unsettling, and impossible to ignore.

Witch Vomit - Funeral Sanctum

Witch Vomit is a death metal band from Portland, Oregon who formed in 2012.  Their new album, “Funeral Sanctum” is their third full length album, in addition to a demo and three EPs.

“Funeral Sanctum” is a brisk 30 minutes, spread across ten tracks, two of which are instrumental interludes.  This is a short but sweet and blistering piece of death metal that offers monuments of wreckage across its runtime without ever overstaying its welcome or feeling like anything was left out.  

The basics of their sound have been retained—brutal, disgusting death metal that can go from lighting speed to doomed crawl. Throw in a bit of black metal too for good measure and their sound is always abrasive, always cavernous and never lets up.  

“Funeral Sanctum” leans into a melody a bit more and features their tightest song writing to date.  In fact, I’d say a lot of this album is surprisingly catchy.  Despite that, and a little more focus on melody, Witch Vomit do not sacrifice their sound, even an inch.

The album opens with “Dying Embers,” a short intro that does a solid job in building up the album’s momentum early on. It is dark, unnerving and leads right into “Endless Fall.”

This song opens with fury and inhumane growls.  The riffs are intricate but not technical, a balance between old school and a modern extreme approach.  Groove and what amounts to melody for this band grace the middle portion of the song.  The ending is a cacophony of drums and a wild guitar solo.

“Serpentine Shadows,” opens with a melodic guitar lick that quickly switches to their classic colder-than-a-grave guitar tone.  Flurries of melody are intertwined into the savage riffs, ensuring the band is always a ravenous beast no matter what approach it takes. 

A slow, crushing groove opens up “Black Wings of Desolation,” and the lead guitar expertly winds up the song into a feeding frenzy that breaks out just before the one minute mark passes.  This is a bulldozer of a track but as the song progresses and the riffs open up, my head could not stop banging.  This is one of the longer songs on the track and feels much more fleshed out.

But the minute-long “Endarkened Spirits” showcases it’s always about quality not quantity—and they fit more into a minute than a lot of bands do in six.  This is rifftastic song that is among their most caustic and brutal. 

The title track ends the album with a loud groan and the ever approaching night.  This is an corpse cold death metal song that is a prime example of not only this album’s sound but the a great representation as a whole of what the band themselves is all about. 

At this point in their rotten, disgusting career, Witch Vomit have solidified themselves as major players in the American death metal scene.  “Funeral Sanctum” keeps the bands signature sound while also expanding it in the best ways.  This band is unstoppable now. 

 

Funeral Leech - The Illusion of Time

Funeral Leech is a death/doom band from New York, New York who formed in 2015.  Their new album, “The Illusion of Time” is their second full-length album, in addition to have a demo.

Doom, in all its myriad forms, is by far my favorite genre so few things get me more excited than an album that mixes it with disgusting, decaying death metal.  “The Illusion of Time” is such an album, combining mid-to-slow paced doom metal with crushing old-school death.  

There is a truly evil and harrowing atmosphere to the album—-it has such a classic feel to it while sounding modern thanks to its production and mix that is appropriately raw but open enough to truly grasp the often cavernous nature of the music.

The pacing of the album is insane—the band really knows when to put the peddle down hard and speed up or when to get down to crawling in pain on the ground like funeral doom.  Each song flows smoothly even while presenting such abrasive and against-the-grain music.  Not only that but it flows very well from song to song. The forty-three minute runtime across five tracks breezes by so well that this demands a lot of replay and never gets old.

There are use of key/synths too and they only add to the nightmarish atmosphere.  Likewise, the album’s incorporation of melody just casts a dim light so the murky depths can be seen in an even more frightening way. 

Since the album “only” has five songs, I’ll say a little about each of them.

“...And The Sky Wept” opens up the album with an eerie atmosphere that moves through like a ghost.  Some sort of weird shouting comes out of the background just before the band drops the hammer.  The riffs are deep with a great tone–this is the exact kind of guitar tone I want for this style.  The bass is a beast—an every moving rumbling earthquake.

Around the 5:30 mark, the song slows to a dirge and if you didn’t think it couldn’t get heavier than the beginning then you’re wrong.  

“Ceaseless Wheel of Becoming,” opens with an old school approach, the entire band on a nonstop quest to bulldoze everything in front of them.  The bass digs deep, perfectly accenting the dropping of the riffs.  The drums hit hard but never cover up the music but instead provide a strong focus and foundation.  I love the mid section—so slow, the music having the depth of an endless void.  This is what doom is all about. 

“Penance,” is one of my favorites on the album, a very interesting song that lets the bass take the lead and isn’t afraid to use the synths/keys to incorporate some truly scary melody. The track is darkly melodic from the 6:00 mark all the way to the end but Gothenburg it isn’t.  This is a funeral, a dedication to death and the journey over.

The last two songs, “Chronofixion,” and “The Tower” truly push the album to the next level.  “Chronofixion,” has undeniable groove and energy, riding the line between death and doom while perfectly complimenting each style.

More of the band’s unique approach to melody creeps in after the 3:30 mark, creating a massive movement that is introspective and arcane but still just as heavy as anything else on the album, in its own way.  Afterwards, the song seamlessly slides back into a behemoth. 

“The Tower,” is an 11-minute death/doom epic and one of the best ending songs I’ve heard this year.  From beginning to end this is a truly massive song that, well, towers above all.  There isn’t a second that passes by that doesn’t belong there.  From the synth/death mix in the begging, the brutal and fast paced mid-section, to the chaotic finishing, the band uses its time well to make sure every moment truly belongs. 

Funeral Leech’s “The Illusion of Time” is starting off April right for both death and doom. This is a very impressive album that needs to be on the radar for not only doom fans but any fan of extreme metal that is chock full of potent songwriting.