Oration Of Deathrashing Qliphothic Revelation: ORATOR (BD)

 ORATOR, Deathrashing cult of primal occultism, from Bangladesh, perhaps need no introduction in worldwide extreme underground, The band that was formed from the ashes of Barzak, obscure Black/Death Act from Dhaka. Barzak  was formed as early as 2003 and had short but very meaningful role in evolving the scene of Dhaka extreme metal. Barzak  released one demo 'Opocheshta' in 2005, followed by a Full length 'Qabiluhu' in 2006. Also an unreleased demo named 'Narabali', As Barzak  ends its journey and Orator ascends from the tomb of Barzak's grave, US based Butchered Records(Severed Records) put down all Barzak songs into a self titled compilation that includes tracks from 'Narabali' demo.Orator  have risen strength to strength upholding the flag of extreme death/thrash, validating the existent of true fucking metal in Bangladesh, and for that matter in south Asia. They played strength to strength alongside Extreme Metal Acts  par extraordinaire like Manzer(France), Infernal Curse(Ar) and Abigail(Jp). Orator released its 2010 EP, much acclaimed 'Dominion Of Avaktyam'  under Legion Of Death Records and one live tape ."Live Cremetoration" under Eternal Transmigration records, limited to only 218 copies, which was recorded during their performance at Cursed Crematoration festival, in Dhaka early 2011. Orator  is presently writing their upcoming full length to be released under French Record Label, Armée De La Mort Records. Rimon Paul Chowdhury  of Putrid Ascendancy  recently spoke to Skullbearer, Guitarist/Vocalist and the Co-founder of Orator (and Barzak). Here is a brief conversation with the man with stern ideologies and inspiring principles, one of the musicians we really look upto with respect and pride. We present you SKULLBEARER!

Official Logo By Artist Itmam Waheed Choudhury

P.A: Greetings!! Now before we start the interview, would it be possible to give our readers a brief history of Orator, its formation and ex member/s?

Skullbearer: It was around late 2008 when Orator was formed by me, Skullbearer and Vritra Ahi. Shortly after formation Daarbesh was hired as the drummer who blistered the first EP. Mephistopheles joined in as Daarbesh left the band around mid 2010.

Barzak Line Up 2006

P.A: Orator was previously known as Barzak, so what was the reason behind the change of names? Does it have any connection with the progression of the musical styles which you were hoping to achieve?

Skullbearer:  I had to put an end to the name Barzak because after I met Vritra we decided to focus more on thrash/death styled metal music as opposed to what we did with Barzak. So yes, the change of musical orientation has much to do with the name change.

Barzak

P.A: The Ep "Dominion of Avyaktam" is quite clearly influenced by Tantric Occultism, now can you tell us what influenced you to tread on the tantric and left hand ideologies?

Skullbearer: It is the sheer curiosity to know and musically walk the path that lures a fireborn from materialist norms to astral abnormalities of opposition and self becoming, motivated us to orate on the left hand Tantrism and Qliphoth gnosis.  

 P.A: After hearing Dominion Of Avyaktam one thing that really strikes the listeners is the precise use of Ethnic instruments, it really creates a perfect balance between the death\thrash assault and cultural influence. Now can you tell us why were the traditional instruments added?

Skullbearer: Thanks for the kind words. The only ethnic instrument we used was called a “Pakhwaz” and it really added the destructive vibes we wanted in some of the songs. 

P.A: Orator's music always been enriched with dense ideologies and strong point of view, I am really curious about whole song writing procedure.

Skullbearer: Vritra and I come up with riffs and then we let Mephistopheles cast the drumming devastation. But while composing we keep the songs lyrical standpoints in mind. This helps formulate riffs in the vein of a song’s conceptual mongering.

P.A: What about the musical influences that has inspired Orator to spew forth it's own brand of sonic obscenity?

Skullbearer: 80’s thrash acts such as Razor, Onslaught, Sadus and the entire 80’s-90’s Scandinavian and South American Old School Death metal scenes are on our influence list.  

P.A: How’s it working with a manager residing in another country?

Skullbearer: Sandesh, he is doing his parts very well despite being in another country. We thank him for all his supports and enthusiasms for Orator.

P.A: You guys have played beside many international acts like Infernal Curse, Manzer and Abigail.. In Dhaka and Bangkok, How’s the scene back in Bangkok?

Skullbearer:Bangkok is a promising land for Metal and growing up to be a strong scene with so many good bands and comrades with the fucking metal guts as required. And the crowds are ever cheering and enthusiastic. We enjoyed the gig in Bangkok which was also our debut live performance.

P.A: If you are granted three wishes related to Orator, what would they be?

Skullbearer: More releases, more international gigs and a never ending supply of beers.

P.A: Now coming back to Bangladesh, your country has a great scene. So can you tell us how it all started and most importantly when did this underground extreme metal movement start taking shape since outside Bangladesh people mostly relate Bangladeshi Scene with progressive bands like Artcell and Aurthoheen?

Skullbearer: The scene in Bangladesh was very much underground at its birth in the mid 80’s with band like Rock Strata and some more. But from the mid 90’s some ultra commercial mainstream labels grabbed the scene tight enough to change it to a poseur heaven full of technical craps and money craving faggotism. But it’s true that the scene is reforming, people are recognizing the ultimate and primal form of metal and many dedicated old school bands are coming out lately. This is a dire omen for the local metal fags that we so despise.

P.A: Previously Orator was signed by German extreme metal label- Barbarian Wrath; presently you guys have a different record deal with Armée de la Mort Records. What made Orator switch over to new label?

Skullbearer: Barbarian Wrath is indeed a big label and Black Goat is a nice person who is also supporting us financially. But we had to change the label because of some personal difficulties at his end. Armée de la Mort is owned by none other than our blood brother Shaxul and we are proud to work with him once again.

P.A: Orator visited India, in the city of Bangalore, for Trendslaughter festival. And we know how cruelly you guys destroyed the stage. Can you describe the whole experience? Any special memories? Any favorite Act over here in India, Orator like?

Skullbearer: Surely that was a hauntingly memorable tour. And, there are several special memories, the surprising welcome party (with flowers) at the bar before the night of the gig, the gig itself and the vodka madness at Sandesh’s place.

Definitely Dying Embrace, although not in Orator’s vein, is one of my favorite acts hailing from India and always will remain so. Culminant has a promising live performance with strong vocals and thrashing stanch in their music.

P.A: Vritra (Cezzane) has been an active member of the renowned cult of Primitive Invocation, What has been the impact of Primitive Invocation in the development of the metal underground in Dhaka?

Skullbearer: Primitive invocation has turned the local scene upside down. They arrange concerts summoning foreign cult acts, published the very first Metal zine in Bangladesh under the same name and recently they have started a metal distro in Dhaka. Vritra and the comrades involved with Primitive Invocation are making the scene both strong and an internationally recognized one. Orator supports their cause totally.

Vritra Ahi

P.A: The Indian fans are pretty curious about what’s coming next from you guys, so far we have heard new track called 'Serpentrident' and as usual it left us asking for more.. so what can we expect next from Orator?
 

Skullbearer: The track is no more called Serpentrident though. Our fanatics in mighty India can expect nothing but straight up thrashend death with occult flavors of oriental music on our upcoming full length and further demos and EP’s. 

Mephistopheles

P.A: The new logo looks even more sinister and detailed. Congratulation.

Skullbearer: Thanks. Yes it is enhanced by brother Itmam, a true Orator enthusiast and supporter.

Skullbearer

P.A: We have always had this fixation when it comes to asking other individuals about their top 5 albums of all time. So do us this favor by letting us know about your personal favorites?

Skullbearer: Merciless – The awakening, Sorcery- Blood chilling tales, Cabal - Midian, Shub Niggurath – The Kinglike celebration, Entombed – Left hand path, Sadus - A Vision of Misery, Megaslaughter – Call from the beyond and frankly speaking a thousand more.

P.A: Last but not the least what’s your take on this old school revival that is slowly on its way to becoming another trend for few people? What are the new bands Orator adore and listen to?

Skullbearer: It is a great sense of pride that we are now living the time of global reawakening of the old school death cult. You see that bands like Vanhelgd, Disma, Cryptbron, Stench of decay, Morbid Flesh, Unconsecrated and countless more are really bringing back the lost glory of death worship. Old School Death shall forever triumph back to reality to cast unrealism upon the falsehood of pseudo metal.

Dominion Of Avaktyam

P.A: We, brothers at Putrid Ascendancy, want to thank you for your precious time and support! We really wish Orator all the best for its future endeavors.. Hails.

Skullbearer: Thank you. Hails.

ORATOR

Dhaka, Bangladesh

Genre- Death/Thrash Metal

Label- Armée de la Mort Records

Skullbrearer - Guitars/Vocals

Vritra Ahi - Bass

Mephistopheles - Drums

Daarbesh- Drums(Ex)

Website- http://www.myspace.com/crematorations

Press Contact- crematoration@yahoo.com

Metal Archive- http://www.metal-archives.com/bands/Orator/3540300753

Putrid Ascendancy wants to express its gratitude to Skullbearer and Orator for his time and the interview.

If you have a band, and you want to feature it on our blog,  Contact us at putridascendancy@gmail.com

Join us on facebook:- http://www.facebook.com/Putrid.Ascendancy

Also  http://www.facebook.com/groups/129034383848755?ap=1

Hails!

Review - Perpetual Scorn (2011) NECROVEN (Spain)

Band - Necroven
Demo- Perpetual Scorn
Country- Spain
Year - 2011


I have been getting pretty disillusioned with modern Death Metal lately. I prefer my Death Metal to be raw, primitive and filthy, but the increase in brutal slam, deathcore and other scenes sort of put me off death metal for a while. I have always wondered why so few people appreciate the art of old school death metal. This is fucking death metal! It is supposed to be cold, dirty, as devastating as getting stabbed by a goddamn sword 10 times over and most definitely not conforming to the trends. Thankfully, there has been a rise in the number of bands playing some old school filthy death metal, the way it is supposed to be played. One such band is Necroven from Spain.

Necroven's lineup consists of a single member, Jonathan Reina who plays all instruments and also does the artwork for the band. This band has been making some waves in the underground and have already been signed to 'Memento Mori Records' for the release of their debut demo, Perpetual Scorn. The moment I got news that this demo was up for streaming on the band's bandcamp account, I decided to give it a listen immediately, and I have to say, I was pleasantly surprised at how good it really was. The first thing that hit me about the release was the atmosphere. Dark, evil and claustrophobic, the atmosphere could simply suck you in. The vocals sound like they are being regurgitated from the bottom of a dark, endless endless whirlpool. The riffs are hammered into your skull. They are memorable and flow together very well indeed. You will not find a million riffs in each songs. You have a few riffs, all of which together create a terrific atmosphere of horror. I cannot describe the individual instruments extensively. Suffice to say they are played very proficiently and are excellent at their purpose. Where this release really hits the nail on the head is its ability to mesh together the strong points from all of its influences and in turn, successfully creating a niche for itself. There have been plenty of bands that I have dismissed as being simple clones of their influences, but not here.

Necroven has created some music definitely worth your time and money. The band revisits the roots of true death metal and plays the music the way it is supposed to be played. It is crushing, yet not brutal. If you like music that conforms to the trends, then this is not for you. This is some filthy death metal. Definitely worth your while. I, for one cannot wait for the full-length release.


Line Up- Jonathan Reina ( Guitars, Bass, Drums and Vocals)
Artwork- Jonathan Reina

                                                                                     Jonathan Reina



Facebook - http://www.facebook.com/pages/Necroven/131959596914062
Band Camp Official - http://necroven.bandcamp.com/album/perpetual-scorn-demo

A review by

Gautam Shankar

Gruel (Swe) - Gruel (2005) : Review

Gruel are are Swedish Death Metal band formed in recent years. They have one demo titled Gruel. For an Old School Death Metal band from Sweden, they have gone unnoticed and not much information about them can be found around. I stumbled upon the demo on my favourite kvlt blog, Sempiternal Esoterica, and boy, does this demo have some massive balls.

Gruel play Swedish Death Metal, but not being complete Entombed rip-offs, they choose to follow the footsteps of Abhoth. The influence of that band is glowing out of Gruel's music. Mid-paced, and sometimes slow, rather groovy, chunky riffs played with pure aggression and thrash mentality are further brutalized by the Boss pedal guitar tone Swedish Death Metal is known for. Like most old school Swedeath, Gruel are a just-for-fun band that is more interested in spitting out amazing riffs than making money or putting forward their ideologies through the music. They do their job really good here, and that makes for a more than a single listen. The riffs are addictive and headbang-worthy, coupled with maniacal thrashy guitar solos. The vocals simple growls that go well along with the Death Metal madness exploding from the music. The drumming is excellent, but nothing that stands-out, but does the job in keeping things interesting extremely well. The same applies for the bass guitar, which can be heard fuzzing and thumping, further heaving the balls contained within this short demo. This demo is very likely my second-favourite Swedish Death Metal demo, only next to Eructation, as it proves with the sheer amount of good riffs and addictive songwriting.

 

Highly recommended for old school Death Metal fans. Particularly Swedish Death Metal fans. Download their demo from here: Download (link taken from Sempiternal-Esoretica. Credits to that blog for making me aware of this band in the first place)

Eternal Warfare From The Depths Of Medieval India - DHWESHA: An Interview With Somesha Sridhara.

Putrid Ascendancy featured DHWESHA's 'Yuddabhumi' in the 'Putrid Ascendancy: Ascending True Indian Underground' Compilation'a few months ago. Since then, the quite obscure band, has risen through the ranks in the Indian Extreme Underground, emerging as one of the most prominent acts in the country.  We recently sat down with Somesha, a founding member, to elaborate on DHWESHA, and all that it stands for.

PA: How did DHWESHA come to being? Tell us about the initial stages of

the band. How hard was it, to form and sustain an extreme metal band

in a country like ours, with a very limited underground scene?

Somesha: It was roughly around March 2008 when I went on a trip to the historical sites in Karnataka.Places like Halebidu,Badami,Aihole and Hampi which was once the capital of Vijayanagara Empire.It was during this trip that the idea of somehow incorporating these themes into the music we make struck to me and I thought it'd make sense if we could write lyrics in our native language which is Kannada.As soon as I got home I started working on our first track which was "Yuddhabhumi" and recorded a draft version of it.Ajay, in a day or two came up with the lyrics and we finished the track.We uploaded the track on myspace and sent it to a few friends of ours who appreciated our attempts and encouraged us to continue with it.

PA: DHWESHA has a unique sound, a lachrymose malediction, staying true to

the roots of the art form, that is death metal. What exactly, is ‘War

Death Metal’? Could you kindly elaborate on its conceptual

significance?

Somesha: Well, we've always been fascinated with Death Metal bands who write about War like Bolt Thrower,Sodom,Unleashed and I love the lyrical themes of Caducity.To me, the combination makes perfect sense.Nothing else can be as chaotic and aggressive and with straight-forward riffs and powerful drumming it sure sounds deadly.

PA: Given the unique music DHWESHA tends to produce, we would love to

know more about your process of composition. Could you kindly  tell us

the roles each of you tend to take, while composing music?

Somesha: We completed our line up recently and before which it was just Ajay and I and we had recorded 4 tracks.At that time it wasnt really a process as such.I'd just record the tracks at home,work on them for a few weeks making changes at the same time Ajay would work on lyrics and come up with a structure for Vocals. After which we'd finalize the song and upload it for streaming.

Once we had a full line up,we started practicing the songs we had recorded and in the process considering inputs from Adarsh and Tushar and making certain changes to the songs,since the recorded tracks have programmed drums and didn't give us the flexibility that a real drummer could.So to sum it up as a process of composition, I'd say its probably the same with us like how it is with most bands,the whole song builds up on a particular guitar riff. 

PA: Songs like ‘Ugra Narasimha’ and ‘Yuddabhumi’, peremptorily bring

visions of Indian mythology, war, pestilence and destruction to mind.

Could you kindly elaborate on your lyrical themes?

Somesha: Our song "Ugra Narasimha" is based on the story of Hiranyakashipu,an Asura(Demon) who seeks Immortality.During his attempt to kill his son Prahlada for opposing him in his thirst for power, has himself brutally killed by Narasimha (Avatar of Lord Vishnu)."Yuddhabhumi" as the title suggests is all about a Warrior surrounded by the enemy and talks of how he survives in the battlefield. The process of writing lyrics is quite tricky at times.Its a challenging task to portray the things you want to, in a native language. The issue is that you cant really write the way you speak and it takes some effort in finding the right words.We read a lot about Medieval India and look for topics which we can build songs on.

PA: You played live for the very first time. What restrictions made you

stay away from the live circuit all these years? What were the causes

of this long, self imposed insularity?

Somesha: Yes, we played live for the first time about a month ago.It was quite intimidating as we had already recorded five songs and they have been up for streaming for quite sometime.The fact the a lot of people had already heard our songs and would obviously expect us to sound the same as it is on the recorded material imposed a sense of pressure to make our debut as perfect as possible. 

Well, the main reason for not having played live for all this time was our inability to find a suitable drummer, while it was also that around two years back the live music scene in our city was dominated by bands who played new-age metal and there wasnt really a crowd for the kind of Death Metal we play.It has changed a lot since then,which ofcourse is a good sign and we have some amazing bands playing Old-School metal and whom we look upto like the primitive death cult Dying Embrace and Pillbox 666.

PA: Finally, DHWESHA is getting its due. We have come across mostly

positive reviews, especially from the metal elite. What in your

opinion, initiated this overwhelming rapport, with your music?

Somesha: Yes, its a great feeling when you get a commendable response from members of bands that you've grown up listening to or watching live.I personally think that people appreciate that we stick to the sound and aesthetics of early Death Metal and try to keep the sound of it the way its meant to be.

PA: Your song titled ‘Yuddabhumi’, was featured in our compilation,

entitled ‘Ascending true Indian underground’. As an instant

ramification, all we could hear for the next few days, were praises of

‘DHWESHA’, and its raw and powerful take on death metal. Now, perhaps

the most predictable question, which we are sure you get asked a lot.

Why sing in Kannada?

Somesha: I think the kind of riffs we write tend to blend in really well with Non-English lyrics. Although in the future depending on the kind of feel a particular song has we will write a few songs with English lyrics as well.There's probably a sense of comfort while writing lyrics in a language you speak most frequently in.

PA:As a band, what pioneering acts, have been the most influential to

your sound? What has, and continues to shape DHWESHA’s abstruse take

on death metal?

Somesha: In terms of our sound I'd say we're influenced a lot by bands like Unleashed,Dismember,Desultory,earlier albums of Amorphis and ofcourse the mighty Bolt Thrower who inspire us to make sure each of our newer material exceeds the previous ones in terms of quality and composition.We give a lot of importance to the Structure of a song.Most of our songs follow a structure similar to traditional Heavy Metal songs which comprise of a distinct Intro,Verse and a Chorus which repeats through the song.

PA: Not too long ago, DHWESHA put up all five of its recorded songs up

for download. We, congratulate you on your indomitable efforts! That

being said, we really love to know. When is Dhwesha coming out with a full length record?

Somesha: Since all of the songs we've recorded have been done at home, we thought we'd put them up for download so that people have an idea of the kind of music we play. We're planning on making demo tapes of the songs we've recorded so far.We're in the process of writing new songs and have uploaded our latest track titled "Sattva Bali" recently.Once we're done with a few more songs and play shows around, we'll probably record at a studio which we hope should be sometime in the year 2012.

PA: For some final thoughts on Death Metal,what would you define as the

genre’s greatest strengths and weaknesses? And how, as a band, have

you overcome the weaknesses, if any?

Somesha: Death Metal to us is all about agression and keeping it simple yet in a way making it sound massive.I've always been a fan of bands that make the" In-your-face" kind of Death Metal.The strength of the genre lies in the fact that it has some of the best musicians and some really good song writers with lyrical themes that range from the harsh realities of the world to fictional wars or fantasy.For a person who appreciates a form/genre of music it is tough to point out the weaknesses in it, but yes like I said earlier I like to give our songs a definite structure,slow guitar solos that deliver a sense of direction to the listener as to where the song is headed.

PA: How do you personally view the development of extreme metal in the

subcontinent, over the last couple of years?

Somesha: The best acts of metal from our country I'd say are bands formed in the 90s,when the true forms of metal were around and bands like Dying Embrace,Millenium and Kryptos started off.Its really inspiring how they pursued and made this kind of music back when there was no internet and hardly a countable number of people knew about metal and the bands would keep their sound simple and stick to a particular style which eventually evolves into their own sound, thats probably one thing that the newer bands lack.

PA: What NOSDM (Post-2000) bands would you recommend to the old guard of

the genre? Which new acts in your opinion, are worthy enough to carry

forward, the torch of extreme metal, to spread forth the insurgence

and bring forth the revival of the genre?

Somesha: The best contender for this I'd say is Deathevokation,their album "The Chalice of Ages" is one of the best Death Metal albums post-2000 and a personal favorite of mine.There are a lot of other bands who're playing Death Metal of the Old School kind like Krypts,their demo is absolutely brilliant and we have Kaamos from Sweden,Burial Invocation from Turkey,Stench of Decay from Finland and of course Disma from the USA.

PA: As mainstream metal gains popularity exponentially, we see bands

trying to outdo each other, in terms of brutality, speed, technicality

etc. It often comes down to a band being judged by the general masses

based on the ‘who plays what faster/ who can come up with the weirdest

time signature’ factor. Hence nowadays, technicality tends to dominate

a band’s music, rather than the soul, the ideology, that is required,

to play metal. Is DHWESHA a catharsis of your feelings?

Somesha: I think bands should stick to the kind of music they play and not change their sound for the masses.Death Metal was never meant to be a mainstream genre in the first place.We've all seen quite a lot of bands who've created great albums and fallen when they decided to make music "for the masses". Yes, it is a trend these days to create strange time signatures and have extremely polished production, which we're not into at all, for all we know these might just be a passing phase.Dhwesha is an outlet to the kind of music we've always wanted to play, straight out metal assault!

PA: Any personal favorites, when it comes to your coevals from the Indian

underground? Which band according to you, has the potential for

success?

Somesha: That would be Dormant Inferno.Their EP "In Sanity" is a great slab of Death/Doom metal and it would be great if we get to play live with them sometime in the future.

PA: What kind of music did you guys grow up listening to? What exactly

made you descend into the world of extreme metal,and prompted you to

play the crushing, violent, unrelenting metal of Death you play today?

Somesha: I think most of us took the usual path of starting with Heavy Metal and eventually getting into extreme metal. I think for me it was Obituary which got me into Death Metal.I just loved the sound of it instantly and began exploring other bands in the genre which later turned out to be my favorite among the sub-genres of metal and the kind I'd want to play with a band.

PA: There’s a mandatory question we like to ask all the bands we

feature. What would be your top 5 metal albums of all time?

Somesha: Arghh! Alright I'll list my favorite Death Metal albums(to make it easier):

  1.Obituary - Cause of Death

  2.Bolt Thrower - Realm of Chaos

  3.Dismember - Like an Ever Flowing Stream

  4.Gorement - The Ending Quest

  5.Unleashed - Where No Life Dwells

PA: We, brothers at Putrid Ascendancy, want to thank you for your

precious time and support! We really wish DHWESHA all the best for its

future endeavors.. Hails!

Somesha: Its been a pleasure.Thank you.

DHWESHA

India

Genre: Old School Death Metal

Ajay - Guitar/Vocal

Somesha - Guitars

Adarsh - Bass

Tushar - Drums

Facebook:https://www.facebook.com/pages/Dhwesha/203586443016525

Reverbnation:http://www.reverbnation.com/dhwesha

Download:http://www.mediafire.com/?mj81n95ods92d2c

Putrid Ascendancy wants to express its gratitude to brother Somesha for the interview. If you have a band, and want it to be featured on our blog, write to us at putridascendancy@gmail.com

Join us on https://www.facebook.com/Putrid.Ascendancy

Arka Saha

Hails!

Album Review: Strongblood - The Beaten Paths of Youth

Strongblood are a Black Metal band from Texas. Not much seems to be known about them, apart from the fact that they released 3 demos since their formation in 2009. Although the band name and song titles like The Sword's Gleam, The Storm, etc. might suggest some Folk tendencies, there are none here. Strongblood play Old School Black Metal with loads of Punk influences.

The demo starts off with an intro titled Woodpile, which has a melodic passage played over lots of feedback. What comes next, is completely unexpected. The listener is hit with Punk-ish, mid-paced riff, devoid of atmosphere or ferocity, but sounds evil enough to be mistaken as a Black Metal riff, similar to what was played by LLN bands like Vlad Tepes and Mutiilation. In fact, the whole production and music has a Les Legions Noire vibe to it. The riffing is mostly mid-paced, with sections of tremolo-picked Black Metal riffs. The musicianship is given a much lower priority here, since the focus is on churning out good, catchy riffs. The vocals are screamed out, and have loads of echo/delay effect on it, perfectly imitating the LLN style. Even though the band apes the style to a good extent, they manage to keep up variety in terms of songwriting. While some songs are catchy and heavy, others are dark and atmospheric. You'll Never Walk Alone stands out, being an Atmospheric song, as opposed to The Sword's Gleam, which is completely riff-oriented. Others, like The Storm and White Roses, combine both aspects in a nice way. Apart from consistently good riffing, the guitarists occasionally throw in simple, but melodic guitar solos, which is a welcome addition, since the music isn't really focusing on being savagely destructive a la old school Black/Death Metal bands. The drumming is sloppy, and is completely Punk Rock based. There are no blast beats, or double bass drumming involved here. Instead, we have drums playing in a regular pattern through most of each song, making the music as simplistic as possible. The bass is almost inaudible, and that probably makes no difference, since such simplistic music will certainly have an uninteresting bass line. (On a personal note, I never really cared about bass in Black Metal.) As mentioned earlier, the production is similar to what LLN bands had in 1990s, which is saying a lot. The guitars are laden with more feedback than Grief, and vocals have as much echo as Belketre. the production results in a hateful, but not remotely grim or evil atmosphere, but that is probably what Strongblood intended in the first place.

The demo is 40 minutes long, which is as long as a full-length album, and by the end of it, the listener might feel he's had enough. It isn't hard to tell one song apart from another, since the band ensures variety in each one's sound. There are no particularly memorable moments in the album - it just comes and goes, leaving the listener rather unscathed and unaffected, but like a lot of other demos, this one is enjoyable while it lasts. I'll probably get back to it in a week or two and enjoy it as much, but this isn't addictive enough to be heard over and over again after just one listen.

Recommended for explorers only

Download

Obscure Death Ritual: The Compilation : Celebrating Triumph Of Ancient Death!

'Obscure Death Ritual' celebrates the triumph of true majesty of 'Real' Death Metal and some of the true nostalgic moments, by some of the 'True' Acts of Ancient Death! 

For those, Who know how to hail and uphold true Death Metal from depth of hell ...

Hails..
                               

                                                Download - http://www.mediafire.com/?52n3p1ugtcczvdj

Tracklist

1. Abduction Of Limbs - Old Funeral

2. Of Pestilent Winds - Excoriate

3.Eternal Darkness - Interment

4. Serpent Of Twilight - Adversary

5. Spawn Of Flesh - God Macabre

6. Abattoir Of Death - Warhammer

7. Calls From The Beyond - Megaslaughter

8. Symphonies Of Spiritual Cannibalism - Incubator

9. Vale Of Tears - Gorement

10. Towards The Shrouded Infinity - Demigod

11. Eternal Misery - Derketa 

12. Camaras De Torturas - Mortuorio
13. Euthanasia- Sacrophobia 

14. As Silent As The Grave - Wombbath 

15. Rotting Flesh - Autopsy Torment
16. The Rite Of Sacrifice - Sorcery
17. Faces Under The Ice - Krabathor
18. Sangrienta Muerte - Masacre
19. Sabbath In Mortuary - Excruciate
20. Soul Incest - Uncanny
21. Las Putas Del Infierno - Lepra
22. Aztharoth - Dion Fortune
23. Mangled Dehumanization - Death Strike
24. Demented - Obscurity
25. Brain Tumor - Terminal Death
26. Gutspawn - Timeghoul 
27. Grip Of Darkness - Adramelech
28. Darkness Greets - Abhoth
29. Unconsecrated Ground- Crematory
30. Resuscitation Of Evilness - Convulse
31. Slaughtered Remains - Necrovore



Only Death is REAL!

Review : Molested - Stormvold

Norwegian Death Metallers Molested are better known for their chaotic and experimental full-length Blod Draum, but their equally excellent EP, Stormvold, goes unnoticed.

Stormvold starts out with an immense, brutal track called The Usurpers in Winterblood and is as awesome as it sounds. The band maintain their epic folky sound, nicely integrated with the straight-out Old School Death Metal onslaught, and the folk influences are heard more on this EP than on the full length. Although this release lacks the use of harp and has no weird-ass track like Blod-Draum, the scales used are clearly different from what you would hear in a standard Death Metal band and have an epic tinge to it. Molested keep up the complexity, bordering on chaos, which means it takes more than 5 listens to actually understand what's going on, yet it is mysteriously captivating in a way that it doesn't fry the neuron network in your brain. This is consistent through the first 3 tracks after which point, these guys completely shit on everything they've come up with. Pyre At the Tarn is an unrelenting flurry of riffs and complex drumming that would send any technical-fag drummer into hiding from the raging beast this guy is. The production is stormy, which means the guitars and drums swirl like a blazing inferno, drowning out most of the vocals, but rather than having an adverse effect, they're rendered even more demonic than they would otherwise sound. The bass is inaudible, but with music like this, you're only looking forward to be destroyed by its absolute might than worry about how the bass clunks along. The final track of the album is Following the Growls, which can also be heard on Blod Draum. The song fits here as perfectly as it does on the album, and is a good way to conclude the multiple fireballs to the face this EP delivers. Stormvold, like Molested's full-length album sprays feces all over every technical bullshit Death Metal band that ever existed, by employing actual experimental elements than just working around with time signatures and playing sweeps and pinch harmonics every two seconds. Despite that, their sound is purely organic. It's not mechanical, not triggered, but in no way human, since it sounds like a bunch of demonic incarnates conquering everything in its path.



If you like old school Death Metal and complain that it doesn't have enough complexity (which you shouldn't), this album will completely change everything for you. If you understand what they're playing on the first listen, then congratulations, you are a genius! You like Molested and liked Blod Draum, you should absolutely listen to this. It's not worth missing.


Download
[PS: I have no sure way of telling if it is the remastered version or the original version, but try it yourself, and don't blame me if you get the one you didn't want. There's not much of a difference, so it shouldn't matter, anyway.]