Wednesday, December 11, 2013


     Full Length. Nuclear War Now Productions
 Suffocating, Confrontational, Pan-dimensional. Needs multiple listens to grow on you.

     Full Length, Self Released 
Brutal, bestial and everything that is synonymous with extremity.

Full Length, Xtreem Music 
Dark, Furious, Blistering. Swedish Death Metal tangled with tints of USDM.

Full Length, Dark Descent Records 
Blackened Death Metal Veterans strike  with their first ever full length that slays and desecrates holiness.

Full Length, Dark Descent Records
Primitive, Dark, Withered and Haunting.. Death Metal with substance

Full Length, Iron Bonehead Productions 
 Filthy, dark Metal of Death from German Abyss, impressive and destructive

Full Length, Profound Lore Records 
Weird and Bizarre but goes uncannily smooth 

Full Length, Bolvark
Chaotic and torturous occult black/death metal done with maximum atmosphere

Full Length, Nuclear War Now Productions 
Their best work. If you liked 'Through the Cervix of Hawaah', Chances are you would find it more claustrophobic and nauseating 

Full Length, Season of Mist Records
 Come and share the secrets of creation through trance of Dagon and Incubus's tyrant symphony cult.

Full Length, Armee De La Mort Records
Kliffotic destruction through sonic deathrashing tandava. Fast, barbaric and blasting euphoria. 

EP, IronBonehead Productions 
Primal Death Attack from Swiss Alpine Grave. First Wave induced and refreshing bolting frenzy.

Full Length, Nuclear War Now Productions

Bestial black metal belted harshly with rotten punk aesthetics.

Full Length, Indie Recordings
Old School death Metal done in traditional way in vein of Autopsy, Obituary, Master or Deceased.

EP, Dark Descent Records
Creepy, Ferocious, Mind numbing and consistent as ever.

Full Length, Nuclear War Now Productions
Trade mark Morboso Metal at its shining peak.

Full Length, Dark Descent Records
Finest work by one of the finest bands from Finland.

EP, Hells Headbangers Productions
Impiety goes wicked and wilder every passing day. Untamed and lawless bestiality.

Full Length, Peacville Records
Yet another sledgestrike from the veterans.

Full Length, 20 Buck Spin
Crustrodden, doom-laden filthy death metal perfection

Full Length, Cyclone Empire
Overlooked album of the year

Split, Hells Headbangers Records 
Old school madness preserved in two songs each from both the bands, nonetheless great music.

Full Length, Invictus Productions
Black thrash/speed metal delivered with authentic 80s aesthetics. 

EP, Wartorn Records
 Violent thrash Metal performed with rabid speed, aggression and much attack.

Demo, Hells Headbangers Productions
Reverbed, echoed, buried under thick distortion. Black Death Metal recommended for Archgoat, Beherit and Blasphemy fans.

Full Length, Dark Descent Records
Bestial black thrash metal perfection. 

EP, Iron Bonehead Productions
Dark Occult Death Metal Catacomb Art.

Full Length, High Roller Records
Pulverizing German Thrash Madness

EP, Profound Lore Records
Death Metal perfumed with cryptic stench of death and decay

Demo, Iron Bonehead Productions

Extremely Heavy Death Metal inspired by Chile Deathult as well as acts like Incantation and Asphyx.

Demo, Iron Bonehead Productions
Black/death metal in vein of Black Witchery, Manticore or  Blasphemy.
RBC Way. No Alien Influences.

Other Honorable Mentions

Vexovoid - Portal 
The Witchhunt - Master
Evil Prevails - Convulse
Poisoned Void - Vorum
Septentrional Theophany - Antediluvian 
Target Earth - Voivod
Condemnation - Temple Nightside 
I - Ogdru Jahad
Throne Of Demonic Proselytism - Demonomancy
Multiversal Holocaust - Zom 

Wednesday, November 27, 2013

REVIEW: Gruesome Malady - Anthology (India)

Band – Gruesome Malady 
Release – Anthology
Type – Compilation
Label – Self-Released/Independent 
Origin – Bangalore, India 
Date of Release –December 10th, 2010 
Number of Tracks – 19 
Playing Time – 1.1 hours 
Genre  Goregrind

CD 1 -
1. Malodorous Ejaculation 
2. Foul Gases Emanating from a Ruptured Anal Tract 
3. Sodomizing the Infirm 
4. Ingest the Excrement 
5. Twisted Mass of Burnt Decay (Autopsy cover)
6. Lactated on Festering Mammary Pus 
7. Infected With Virulent Seed
8. Molesting the Disemboweled 
9. Fermented Urine Therapy 
10. Embalmed in Fetid Rectal Discharge

CD 2 - 
1. Degraded and Defiled
2. El Ataque Delos Muertos Sin Ojos [Instrumental]
3. Crypts of Ichor/Frenzied Evisceration of Viscous Excrescence
4. Mangled by Rodents
5. Post-Mortal Insemination
6. March of the Mongoloids
7. Aura of Atrophy
8. A Cranium Divided
9. Boneyard (Impetigo cover)

Gruesome Malady were the first band to put India on the world wide grind map, and heralded a micro-movement of a small group of bands playing genres derived from the larger grindcore realm in the years to come. Having made quite the furore in the underground in the past, Gruesome Malady’s Anthology chronicles the band’s career in its entirety, and is a compilation consisting of all their official studio material sans their initial demo release. The first 10 tracks of the compilation are from their torrential debut and sole full-length studio album, ‘Infected With Virulent Seed’. All of the tracks are introduced by a precursory clip from horror movies of various sorts that address and portray perverse and depraved scenarios, well in congruence with the type of music present on this record and reinforce the thematic leanings of the band.

The focal point of all the compositions is very obviously Jimmy Palkhivala’s twisted axe work. The riffs are absolutely abstruse and very unique even within the realm of an already extreme and unconventional genre like goregrind. The sheer nature of the riffs are very interesting – their vector is a sludgy guitar tone that serves to create a rather suppurating atmosphere, and is propelled forward by a sense of extended song-writing that is suffocating and cumbersome on the listener. The riff’s stylistic leanings are itself somewhat evocative of, and seem to borrow ideas from the traditional death metal school of guitar work, but this approach does not stray into deathgrind hybrid territory in any sense, and instead add to the eclectic nature of a given composition, as the riffs are multi-phrasing in any given segment. The sheer moods of the riffs here are destructive and deviant, and have an uncomfortable sense of ominousness and depravity that is simply fantastic. Gruesome Malady does not lazily lean back on either a cyclic song-structure, nor do they rely on repetition in order to reinforce a song-writing idea, which essentially brings the stand out feature of this record to fore - the song-writing is the furthest thing from conventional goregrind.

The structural quality of the riffs are itself pleasantly unpredictable, being a potpourri of rapid chugging (albeit with a strong ear for definitive rhythm as opposed to sterile, percussive picking), note-based syncopation and almost neo-classical leads that as a whole impression upon one as a warped and debased satirization of the pulsating melodicity that is not uncommon in the realm of extreme metal, although in limited and suitable doses. The sudden structural shifts employed by Jimmy is unsettling in a sense, given the felicitous character of the dissonance (‘March of the Mongoloids’ reflects this in a most incredible manner), atonality and consonance within the compositions, when in actuality their usage is nothing short of esoteric and festers upon the ears of the listener. El ataque De Los Muertos Sin Ojos presents all these elements in healthy slabs.

Vikram Bhat’s drumming is a fairly standard blast-beat laden indulgence, changing its pacing, albeit in a subtle manner relative to the tempos ushered in by Jimmy’s guitar conceptions. Although, there is a definite sense of spontaneity, given that the percussion has an arbitrary tendency to descend into drum fills. The tonal impression and blasting quality of the percussive side of things are unapologetically grimy. One may find themselves complaining about the lack of supposed technical and instrumental precision and dexterity in this department, but that is essentially missing the point, given that the punishing atmospheres call for this seemingly off-rhythm and murky approach that serves to sustain the sonic tension. Essentially, the rhythmic pacing of the guitars in conjunction with the drumming is purposefully muddy in order to reinforce the grinding, aberrant and distorted quality of the morass-like compositions.

The production certainly helps in this regard, as it generates a feculent aesthetic that is swamped by the aural abhorrence of the reverb and distortion. The vocals (shared by the manic duo), comprising of the conventional bizarre gurgles, on the other hand, seem to be lost in an otherwise satisfactory mix and are merely random noises amidst the instrumentation, although one may question how imperative they are to the sturdiness of the songs in the grander scheme of things. The guitars sound more illuminated in countenance and pop out of the mix among the songs which were originally released on the Mortuary Hacking Sessions/Gruesome Malady split relative to the songs on ‘Infected with Virulent Seed’ or ‘Blasphemous Beef/Aura of Atrophy’ (split with Patologicum). The two covers, Impetigo’s ‘Boneyard’ and Autopsy’s ‘Twisted Mass of Burnt Decay’ (which the band members’ other project Dying Embrace often covers live) are also very fun listens and rather interesting takes on the originals. The former cover especially comes off as particularly unhinged.

In summation, this is an excellent compilation of what was one of the more unique forces in the goregrind genre. The USP of GxMx’s music is essentially a twisted sense of dynamics that invokes an inherently entropic and eclectic structural approach, distorted by a seemingly disorganized, incomprehensible and chaotic sense of composition. A variety of influences are excellently channeled, such as Mortician, Lymphatic Phlegm, Last Days of Humanity or even Blasted Pancreas but Gruesome Malady ultimately stand proud with an extremely unique sound to their name. The pressings of this compilation were cancelled due to some shortcomings on part of the manufacturer, who instead pressed CDrs and failed to incorporate the casing for a double disc package. However, I do hope that this compilation sees the light of day some day, and is re-pressed for the fans and grind aficionados alike to access Gruesome Malady’s discography in a composite and easily accessible form.

Rating - 9.3/10

Gruesome Malady on Facebook
Gruesome Malady on Metal-Archives

Reviewed by,
Achintya Venkatesh

Sunday, November 10, 2013

REVIEW: Orator - Kapalgnosis (Bangladesh)

Band – Orator
Release – Kapalgnosis
Type – Full-length album
Origin – Dhaka, Bangladesh
Date of Release – February 20th, 2013
Number of Tracks – 10
Playing Time – 41:37
Genre – Death/thrash metal

1. First Born of Sataninsam
2. Kapalrevolution
3. Satanachesh Grimore
4. Gnosis Stained Khadga
5. In Tamas They Dwell
6. Necrocosmic Apparitions
7. Devoid of Dharma (Aghorey Bhyo) [Instumental]
8. Bestial Death (Merciless cover)
9. Rites of Grand Renunciation
10. Last Emissaries of Doom Tantra

Orator arose from the ashes of Barzak, a more primitive black/death metal project which the primary members of the band were a part of until the change in moniker. Three years after their debut EP ‘Dominion of Avyaktam’, the fruits of the band’s hard work are presented on this studio endeavour. Released via Armée de la Mort Records, Kapalgnosis marks the first full-length of the Bangladeshi trio. The etymological meaning behind the title and the overall running theme of the album is imperative to the album experience, and is not merely a superficial subject for the record to frivolously lean back on, but something that adds to the overall theatrical experience of the music. Kapalgnosis is as portmanteau word of two words – kapal and gnosis. Kapal translates into the skull cup possessed by Kāpālikas (and more broadly Aghoris), a non-Puranic, tantric order of Shaivism in South Asia. Gnosis on the other hand denotes knowledge, and thus Kapalgnosis together denote the cranium chalice/skull cup of knowledge.
The trance like intro of the album puts the listener in an almost meditative reverie, with an atmosphere begetted by the trajection of what seems to be an ambient sitar, evoking a feeling of austere. But this feeling of tranquillity is encroached with the first song, ‘First Born of Sataninsam’, which sets the tone for the album in a sense, chronicling macabre Aghoric tales, among other alternative path topics. One immediately takes note of the slight shift in the pacing of the band, which was a more straightforward blasting indulgence on their debut EP in the vein of the percussive patterning of bands like Krisiun. This full length sees the band take on a charging tempo that is comparatively evocative of a more classic death/thrash metal percussive racing in the vein of Sepultura, Master and Merciless, which are quite obviously some of the band’s influences. This works to the advantage of the band, as they’re able to forge their riff ideas in a more controlled manner as opposed to mindless un-fettered tremolo ripping. However, by no means could the music be described as restrained or sterile, as the tone of the drums are punishingly bludgeoning. Essentially, Mephistopheles Warmonger brings forth a dynamic to the band that keeps structural adherence in check while refusing to compromise on the savage nature of the music.
The guitar work is unapologetically syncopation driven, evoking a raw and thunderous textural dynamic that compliments the grotesque realism of the Aghoric dogmas. Tempo shifts and riff ideas are seamlessly executed and blend into the larger creative canvas in some of the more lengthy compositions such as ‘In Tamas They Dwell’. Clean guitar work is sparingly added during appropriate segments of the aforementioned song, as well as the ambitious and eremitic instrumental ‘Devoid of Dharma (Aghorey Bhyo)’. This element serves to add to the layering and illumination of a given track, while presenting fragmented ideas working together in counterpoint. Solos are brief and quite simplistic, perhaps leaving one longing for more in that specific department, but the vitality of the songs as a whole compels one to ignore this shortcoming. Vritra Ahi’s bass work mostly follows the riff idea established by Skullbearer, but adds to the overall cohesiveness and sturdiness of the sound. Independent bass moments are found on songs like ‘Gnosis Stained Khadga’ and others across the album.
The song structures are cyclical, and the number of distinctive, separate riffs is limited within a given song, but the sheer relentlessness of the compositions, driven by the ripping wave-like riffs keep any notions of monotony at bay. The vocals are a primitive, ripped vocal-chords type of indulgence that requires little analysis. Vocal hooks are incorporated within the primeval sonic pillage of Skullbearer’s venomous chants; as the chorus of songs like ‘Kapalrevolution’ or ‘Rites of Grand Renunciation’ effectively reflect. There are less native instruments on this album relative to their debut EP, and is mostly restricted to the usage of subtle flutes that are in congruence with the trance inducing guitar patterning on the sole instrumental track of the album. The band has also added a cover of MercilessBestial Death’ which is simply fantastic.
Lyrically, the band invokes the cultural mythos and mysticism of the land, albeit not by means of a straightforward historical narrative. Instead, they reflect on the more anomalous (some would say morbid) side of the land’s spiritual tenets, and what better dogmatic order than the Aghori sect compliments their menacing and dark hymns? However, this is tastefully done, and doesn’t overwhelm the listener. The sound they’ve forged for themselves is universally relatable amidst these native specificities and culturally-oriented thematic leanings. The artwork is also fantastic, which portrays a Brahmin being decapitated by a maniacal Aghori (with a third eye to boot), and the premise of the artwork can be read inside the lyrics/credits booklet of the album. I cannot stress what an excellent visual compliment it is to the larger thematic premise and rabid music of the album.
In conclusion, the band successfully conjures a death metal sound via a vicious thrash metal percussive channel, which is both gratifying and has high replay value. It might not present the most original sound, but is cohesively executed and to put it simply, very catchy and invigorating, and is stellar by any standards.
Rating – 9.2/10
Orator on Metal-Archives
Orator on Facebook
Reviewed by,
Achintya Venkatesh

Thursday, January 31, 2013

REVIEW : Dying Embrace - Era of Tribulation (India)

Title - Era of Tribulation
Type - Compilation
Country - India
Label - Armee de la Mort Records
Date of Release - December 26th, 2012
Number of Tracks - 14
Total Playing Time -  52:43


Misanthrope 7"EP
1. Blood Rites   02:46
2. Cromlech Of Hate  03:54 

Grotesque Tape EP
3. The Passing Away  04:03
4. Grotesque Entity   05:02
5. Oremus Diabolum   05:39 
'Serenades Of Depravity' Mini Album  
6. As Eternity Fades  03:22
7. Spawn Of The Depths 03:06
8. Dagda - His Time Has Come 02:46
9. D.T's (Instrumental) 02:58
10. Degeneration  03:09
11. Elegy For The Damned (Outro)  01:18
'Dying Embrace' Demo
12. The Passing Away  04:07
13. Grotesque Entity  05:04
14. Oremus Diabolum  05:29
"Beneath the Swamp, Victim of Zealot Rage
Remains of Sorcerer from a dark, distant Age
Buried for Centuries deep beneath the Sand
Lightning now strikes the unconsecrated Land"
The buried Ancestral curse , suspended perversity and an epitaph of grotesque past.. The Era Of Tribulation!

Veteran Doom/Death Legions of India, DYING EMBRACE's Discography/Compilation CD regurgitates the anatomical existence of this monstrous entity, lurking in the dark underground for nearly two decades, rejecting everything mainstream, denying to bring forth any changes in what they believe in or what they like to play and provoking the charm of true flame of underground music among maniacs. DYING EMBRACE was initially formed as MISANTHROPE as early as in 1991, heavily doused in musical influences from likes of Black Sabbath, Candlemass, Autopsy, Paradise Lost etc. Later the band changed its moniker to DYING EMBRACE after departure of the former vocalist. This Compilation is the testimony or showcase of this legendary band's work of art buried under the grave of time. 

Era of Tribulation conjures up the tracks from 'Misanthrope' EP, 'Grotesque Tape' EP, 'Serenades of Depravity' MCD and 'Dying Embrace' Demo, a myriad of morbid tunes collected through out the entire career of the band. Bearing the sensibilities of blues and classic heavy metal, DYING EMBRACE's music is filthy, aural, diabolic and almost hypnotic. Blending the elements of doom spew forth the eerie, spectral and enthralling qualities. The riffs are crafted as if they are like revenants witnessing the horror in a dark alley. JIMMY PALKHIVALA, A legend in every right, needs no introduction in the underground. A maestro that he is, can evoke the most bizarre and captivating sense with every riff he writes. For example, 'Blood Rites', from 'Misanthrope' EP, would take you to an alternate state of mind, subtle, stark and gruesome. The songs are written considering the extreme fluidity and emotions. Nothing seems like they are forced upon. Everything flows like a stream producing swarming emotions and titillating our dark psyche. Listen to songs like 'Grotesque Entity' or 'Oremus Diabolum', or say 'Cromolech of Hate' to realize  the band's impeccable standard in song writing. Riffs are provocative,  sensual and like a razor it cuts you deep. Where the lead works would again rejuvenate and reconstruct you into your mortal form. Vocals, the less said, the better it is, Trademark vomits by VIKRAM BHAT. Uniquely textured, ugly to its core, gruesome gutturals that you really never heard before, absolutely inhumane and creature-like . And you know what, there is no effect involved here as he sounds equally gruesome and savage live, I was going through the lyrics and to my astonishment I found, he utters ever single word of the lyrics yet maintains that ghastly growls that can scare the shit out of you. Check out songs like 'Dagda - His Time Has Come' or 'Degeneration', from 'Serenades of Depravity' MCD to witness some of the best vocal productions ever. A regurgitation of phlegm infested eternity, That's how I would describe Vikram's unique singing style that sits perfectly on the doom laden riffs master crafted by Jimmy. DANIEL MARC DAVID's thick, unpredictable, filling drum line provides a perfect skeleton to each songs, not too overwhelming, just perfectly weighed. It reminds me a lot like Reifert Vibe going on, specially on the tracks like 'Blood Rites' or 'As Eternity Fades'. Bass work by JAI KUMAR does everything required for all the songs, heaviness, eeriness atmosphere and some goosebumps. 'Oremus Diabolum' sounds crushing, heavy and absolutely spooky. Its like Sabbath meeting Winter or Autopsy. Lyrically DYING EMBRACE reflects on darker aspects and themes, occult, mythologies, suffering or sorrow, suspended trauma of mankind. Excellent lyrics, not only give perfect message to scream about to the audience but also showcase the poet within. DYING EMBRACE surely summons a morbid imagery and offers great lyrical arena that absolutely befits such heavy music. And the artwork, which in one word, is sick. It is done by artisan of death, Zizi Amri and does every justice to the musical materials and the ERA OF TRIBULATION Shirts. This is an incredibly coveted  ARMEE DE LA MORT RECORDS release, run by SHAXUL of MANZER(France) who also runs LEGION OF DEATH  RECORDS. SHAXUL left no stone unturned with this release, from in lay work, which he designed himself, the jewel box to the paper which looks very chic, vintage and is expensive. Everything is fantastic.
 This is 'The' perfect discovery, flawless in every aspect. Every song has stood the test of time. Steeped in nostalgia and old world charm, DYING EMBRACE's ERA OF TRIBULATION  is 'The' Triumph of Death and a 'must have' possession for any self respecting Metalhead and everyone who values arts and believes in purchasing original music. This is one serious piece of art from the dark abyss from a band that kept the flag of Indian Metal flying high in International Underground.
Metal Archives -
Armee de la Mort Records - 

Thursday, January 10, 2013

Genocide Shrines (Sri Lanka) - Devanation Monumentemples (EP) Review

Band -Genocide Shrines
Release -  Devanation Monumentemples
Type - EP
Label - Cyclopean Eye Productions
Origin - Colombo, Sri Lanka
Date of Release -  July 7th, 2012
Number of Tracks - 7
Total Playing Time - 19:46

Sri Lanka, a land shrouded by political warfare, oppression and inter-racial hatred would be ideal breeding grounds for the birth of bands following similar lyrical themes and a similar approach to their music. However, Genocide Shrines, hailing from the capital city of Colombo, have little but no hints of such influences in their music or lyrics and pursue a much darker and more primitive approach to their music, the other sides of primordial Sri Lankan ancestry and the wages of muted grudge manifested for defeated eternities, from fearsome and heroic Ravanakult and all of their blasphemous vomits are compiled to give birth to their monstrous debut EP ‘Devanation Monumentemples'.

Furious, ritualistic Black/Death Metal spat out with tantric animosity and unearthly desires, an apotheosis of the mighty king whom even Lord Shiva praised and adored, who once ruled the land and his terror is still unforgotten, Genocide Shrines, comprising of Tridenterroccult, BlasphemousWarGoat, NarkotikPerversor and Khaoshiva, perform a unique blend of black metal and death metal with earnest emphasis on providing total chaos. Heavily distorted razor-like riffs, steam-rolling drums, sinister bass-lines and atrocious vocals, that would recreate a sense of getting drowned in a primal sea of black chaos. The vocals appear like the incoming turbulent waves on the shore, ravaging, sometimes dominant, some absolutely tidal but never submissive. Deep Gutturals are superbly complemented with those blood-chilling echoed and highly reverbed shrieks creating a multidimensional and aural sonic landscape. The production is an added bonus as all the instruments are audible while managing to sound “raw” at the same time which trust me is not an easy task to perform. Like, if you listen to similar releases in past, one of the remarkable releases has been 'Seven Chalices' by Teitanblood of Spain. That album created an absolutely terrifying sonic impression. Almost flawless record in every account except the drums in the mix, which was too buried under the guitar distortions and vocals. But in this case of 'Devanation Monumentemples" the drums are perfectly mixed, giving the riffs enough support and structures.

The addition of an intro, interlude and an outro(Each called a Pillar) add a better dimension to this EP and enhances the listening experience. Personally I loved the 'Submission' Pillar II, which somehow sounded like a clipping from a movie but it definitely added a kind of contrast or juxtaposition to the music. Even though all the tracks here are stellar, ‘Nectars of Tantric Murder’ and ‘Apparitions of Spiritual Obliteration’ stand out from the rest, in my opinion, And if you want to sample pure black flame of chaos of Lord Shiva, you must check out Shivatandavaiolence, which would slowly evolve into true fucking terrifying state of tandava after 1:55 minutes. The end riff of ‘Apparitions of Spiritual Obliteration’ is as memorable and deadly as the infamously infectious  'In the Grip of Winter' riff of Autopsy from Mental Funeral.

Lyrically the band had done really appropriate  to their absolutely indoctrinating theme and penchant for spiritual warfare. Deeply rooted in eastern esoteric darkness, Genocide Shrines penned some of the most  provocative, igniting and liberating war poetry that would not hesitate a bit to glorify  death, chaos, holocaustic wrath and apocalypse, very much like they already said before, 'In his(Raavan) name, We desecrate'.

Genocide Shrines have carved out a perfect sound of their own with their below-20 minute EP and I have to say that ‘Devanation Monumentemples’ is becoming one of my favorite EP’s the more I listen to it. Putrid Ascendancy already mentioned of this EP in its list of 2012's best releases and do consider Genocide Shrines are the best break-through band of 2012.
A very special mention goes ‘Cyclopean Eye Productions’, an Indian Record Label with eyes set on true talents in the underground, for signing this very talented group of musicians and giving them the right opportunity, promotion and platform. I am sure it would be a great feeling for the label now seeing their debut release making it to list of "Best of 2012", internationally.

Genocide Shrines's work in this EP could be compared to the western standards set by prolific acts like Archgoat, Proclamation or Teitanblood. With endless of blessings from Raavan, Genocide Shrines are surely here to annihilate with no mercy and could be depended upon to produce more captivating violent slabs of occult Death Metal in the future and what I just heard is that they are already on their first full length that would be released in coming months for mass obliteration.
This solid, mature and aggressive release from these Sri Lankan blasphemers should not be missed by metal maniacs out there who worship true bestial black metal or old school death metal.


Desecrator/Joseph Stephenson 

Band Website -,

Label Website -,