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

Tracklisting

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

REVIEW: Orator - Kapalgnosis (Bangladesh)

Band – Orator

Release – Kapalgnosis

Type – Full-length album

Label – Armée de la Mort Records

Origin – Dhaka, Bangladesh

Date of Release – February 20th, 2013

Number of Tracks – 10

Playing Time – 41:37
Genre – Death/thrash metal

Tracklisting

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 Merciless' ‘Bestial 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

REVIEW : Dying Embrace - Era of Tribulation (India)

Artist - DYING EMBRACE

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

Tracklist 

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.

 9.8/10 

 

Metal Archives -

  http://www.metal-archives.com/bands/Dying_Embrace/4231

Armee de la Mort Records - 

www.legionofdeathrecords.com 

 

 

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.

8.5/10


Desecrator/Joseph Stephenson 


Band Website - https://www.facebook.com/genocideshrines, http://www.metal-archives.com/bands/Genocide_Shrines/3540348844

Label Website - http://www.cyclopeaneye.com/, http://www.metal-archives.com/labels/Cyclopean_Eye_Productions/29279

An Interview with Kingsley King Fowley of DECEASED

DECEASED, needs no introduction. Truly a pioneering underground force to reckon with and one of the most influential extreme metal acts in our list. Along with bands like Exmortis, Revenant, Ripping Corpse, Goreaphobia, Death Strike/Master, Dr. Shrinker Etc, Deceased churned out some of the menacingly extreme, extreme music that survived the test of fading time; Recently we had an honour to get in touch with 'One and Only - Kingsley King Fowley' and we cant express the magnitude of our happiness enough to be able to speak with one of the most inspiring figures in the extreme underground. Putrid Ascendancy extends the hands of immense gratitude to Mr. King Fowley for his time and this interview!

PA: Let us begin with hearing a couple of words about Deceased, what would you like to tell us?

KF: CHEERS! Well here it is 2012 December. Band’s about to enter its 28th year together. A new album is in the works and we’re about to go out on an American tour as well. Very happy and pleased to still be hard at work in a band that means everything to me.

PA: being a band from the 80's and starting off with a very primitive and old school sound earlier, how would you shed light on the influences which helped you in shaping us such a tight sound for Deceased ?

KF: We’ve grown up through it all. We’ve learned to play our gear and with that the proper adding and subtracting has come to the forefront. We’ve always played with the fast and thrash ideas as well as the heavy metal melodies too. We’re just able to do more now due to learning to write/create songs and all that come with it. I’ve shaped my voice into how I enjoy singing for Deceased. It’s come a long way too! The band is a fine tuned machine these days!!!

PA: As your lyrical themes tell us about zombies and classic works of horror from 'The Twilight Zone' and of Edgar Allan Poe, what in particular compelled you towards that theme and how do you frame it so well in terms of creating music with?

KF: It’s fitting to what this band is all about. We’ve always gone for morbid topics and ‘fitting’ themes to our sound. I have many things I love from the horror genre. From written works to film to fiction ideas in my mind. Even nonfiction horrors are a part of it. This was very prominent on the ‘Surreal Overdose’ record.

 

PA: We would like to know from you, about the sound of Deceased. How is it different now compared to the earlier sound? Please tell us how the sound had evolved over years and how significant do you find this change?

KF: We were young and on drugs and just teens. We wanted to turn the amps all the way up play the fastest tempos and just be ugly raw and aggressive. We learned dynamics to make those fast parts stand out more in time. We learned how to keep guitar solos in key. We learned to layer vocals and to layer guitar ideas. All this to us is very fun and a dream to grow into better song writers. Only time and trial and error can get you there. We still love the turn it up and go for it attitude and we surely haven’t ‘mellowed’ with age either. It’s all still there just in a more professional package overall.

PA: Do you prefer using ‘Vintage Gear' or Analog Technology for the construction of your music. If yes, tell us more about it?

KF: We use what’s fitting to us. We still just buy our guitar heads and cabs and go for it on that ideal. We’re not much for ‘today's sounds’ in gear. Classic sounds are stuck in our heads and I’m sure always will be. When it comes tr recording we dabble in technology now and then but most of the time we don’t like what it brings so we abandon it.

PA: Please name a couple of Heavy Metal bands which you love and never forget to listen to?

KF: Iron Maiden, Black Sabbath, Voivod are 3 of our main metal influences and always will be.

PA: We would like to know about the metal scene in Virginia presently, tell us about the local bands and upcoming metal bands from there?

KF: I don’t live in Virginia for over 7 years now but when I visit and we practice nearby in Washington d.c area (only Mike lives in Virginia there these days) I don’t see much. The music scene is pretty beat down there. Used to have a damn good scene and we’d be the band to promote it all and set up shows. It seems the music down that way is pretty low key and not really moving up.

PA: Any recent tours out of U.S? Are you working on a new Deceased release, is it going to be a full-length? Name some places, festivals you like to tour and why? Also tell us about about new venues you'd like to play at or places, that Deceased is planning to visit in future?

KF: We are going to do a U.S tour in march going west coast and in between some too. A new LPs is in the works. It’s called ‘Ghostly White’ and it’ll be put out on Hell’s Headbangers records. We hope by 2013 end to have it out. I love playing anywhere big or small! All shows are a good time with us. We just love to set up and have a blast. We’d love to get to Europe in 2014 and do a full European tour. That’s next on our ‘things to do’ list!!!

PA: Which Deceased album would you give an aesthetic importance and why ? What in your opinion are the important aspects of producing a proper and complete metal record?

KF: I think all we’ve done is important in our growth. Many consider ‘Fearless Undead Machines’ as our best. I’m more into the sound and style of ‘Supernatural Addiction’ this is my fave Deceased record. It all comes together just right to me on that one. To make a complete record first off you need good songs. Memorable and with substance and variation! You need to take your time and do it right. Hurrying really never does a lot of good to anything. And if its of standard in time it might be considered a classic to the heavy metal world. I’m from the school that if as an artist I enjoy the finished product then I’m satisfied for all time!

PA: What do you have to say about trendy, posing genres like Death core and Metalcore?How much has it helped the 'Metal Scene' all around the world?

KF: Music is music. There would be many fools and trend jumpers. I ignore it the best I can and that’s all you can do. Be strong at what you do and don’t let that stupidity slow down your dreams in the music field. The strong will survive!

PA: What is your call on Grindcore? Name the bands you are fond of and you support, in that genre.Also tell us how bands like Dead Kennedys and the rest of the hardcore punk bands help give Deceased the rawness to its sound?

KF: I love a lot of hardcore from the old days and punk from the Ramoners to Plasmatics,Dk’s, Mdc, English Dogs, The Accused etc. These bands have a good raw angle and it really added to the vibe we are a part of. Grindcore is cool if the drummer can keep up and the riffs are ferocious. Bands like Repulsion are amazing.

PA: How do you differentiate the American Metal Scene to that of the Europe? What is the dissonance you find in European Metal compared to the rest of the world?

KF: Well its so interchanged these days most of it matches up now on all shores. But younger I noticed the Europeans had a lot of musical ideas from guitar harmonies and a lot of melody that America had to catch up on. They kept the heavy edge and still made viable intense metal music.

PA: What in your terms is called a 'real establishment' for a metal band? How important is Deceased to you and the others in the band?

KF: I live for the band. It is my life. To speak for the other guys they love doing what we do and even though we’re in our 40s now still find time to make it all happen. We know when time comes to write new material that we won’t rush or shit it out. We will do it with the love and care we give our songs we create. We don’t believe in half ass and we wont ever fall into that.

PA: What is the amount of time you spend with Deceased and what impact does it lay on you at the end of the day? What is Deceased other than just being music to you? Tell us about your involvement in the band?

KF: Oh every day is about the band. From booking shows to setting up jams to making shirts to talking to folks who support us like yourself. My involvement is the ‘leader’ of the band. The guys know I’m always in the best interest of the band. It’s what I do and what ill always do. It’s my life. Music is my wife!!

PA: What good news about Deceased do you want to share with us so we cherish it on its name?

KF: We’re still doing our thing! We’ve never swayed or faltered. On we go! Proud to be 100% still ourselves all these years later!~!!

PA: Its a tradition of Putrid Ascendancy to ask you to name 5 of your favorite metal albums of all time.go ahead.......

KF: Sure some albums I live for, Black Sabbath ‘Mob Rules’, Voivod ‘Killing Technology’, Jag Panzer ‘Ample Destruction’, Y&T ‘Mean Streak’ and Whiplash ‘Power and Pain’ are 5 of them! All classics in every sense to me.

PA: It was a pleasure! We wish you great success with your career and future; and the best of wishes to Deceased. So lastly, what message do you want to send out to your fans?  

KF: Thanks to all for reading and the support. Wishing everyone well over the holidays 2012. Be yourself and stay wild! UP THE TOMBSTONES!!!!! Hails and greetings!

-Syd Myers

Nuclear Winter - Warborne Assault (EP) Review

Band - Nuclear Winter

Country - Bangladesh

Genre - Thrash Metal
Release - Warborne Assault

Type - EP

Label - Wartorn Records

Date of Release - 17th January, 2013

Tracklist

1 - Nuke 'Em Back To The Stone Age

2 - Father Of All Bombs

3 - Sacred Warfare
4 - Idol Of The Blinds
5 - Not A Step Back (Order No. 227)

Total Playing Time - 15 Minutes 

Thrash is not a very easy genre to make a mark in. One can argue that all the major innovations in the style were done in the 80's, the decade that gave birth to the genre. However true that may be, it must be stated that thrash in the modern day is a genre that is full of copy-cats that lack originality and just want to do the same thing that the next band is doing. To put it bluntly, most thrash bands just look the same and sound the same. In fact, the most unfortunate thing is that I can pick a random band from Spain and pair them up with a band from Canada, and they could have both been from the same den in the west coast of the USA. 

Nuclear Winter are not just another ripple in the endless stream, however. Right from the outset, the band differentiate themselves with their dark sounding, gritty production that manages to be clean at the same time. The guitar tone bursts out the gates like a battering ram, crashing into everything and beating the opposition into submission, while the drumming provides a constant barrage of bullets to aid the assault. The bass has a healthy clunky tone that is a bit behind in the mix but is not without its own presence as it adds another layer of heaviness to the overall mix, and helping create the ultimate aura of endless warfare taking place before our very eyes.. or ears, in this case. Speaking of war, the vocal performance by Reza is akin to a general barking orders from the trenches, but never hesitating to fire some rounds himself. 

The music is played out at breakneck tempos throughout, sometimes giving way for a mid-tempo approach, but never ever slowing down. The riffage leads the way forward, armed with the great tone as mentioned earlier, with the tight rhythm section giving the aggression a contained and compacted feel. The overall effect is devastating, when the sounds of war break through your speakers. In the midst of all this high speed metal madness, a guitar solo drops in and makes its presence known every now and then to keep this Bangla blitzkrieg marching forward. It is really something to behold, and if you don't sing along to the choruses when you witness this band live... you shouldn't be at the gig in the first place. I know I will personally go apefuckingshit when I some day am blessed enough to see them live.

The songs are all well balanced. The first track, the promo single, starts off in crushing fashion and eventually leads way to the band's trademark fast tempos and barking vocal style. Father Of All Bombs is a short but sweet effort clocking in around two minutes with some interesting riffage and an addictive chorus section. This song will have you guzzling beer can after beer can while smashing your heads against the stage. The next two songs – Sacred Warfare, and Idol of the Blinds – are notably more nefarious in nature, with some harsher vocal styles on display as well as some riffs that wouldn't be out of place on a death/thrash song. These two songs make it clear to the listener that this band brings variety to the table as well, before the EP finally closes off with a sick crossover influenced track in Not A Step Back (Order No. 227). This last one finishes as soon as it begins, leaving behind a mass of collateral damage in its wake. 

Musically, you would be pretty ill-informed to claim that this band is a Sodom worship band just after reading their name. Their influences upon the initial listenings, vary from the aforementioned German thrash masters to acts such as Destruction, Exodus, Sacred Reich, Sacrifice and Morbid Saint. However they are not any generic retro-homage to 80's acts. At the end of the day, Nuclear Winter just provide an eclectic mix of elements of their favorite bands, and manage to create their own sound in the process.

Putrid Ascendancy strongly recommends!! 

9/10

REVIEW : One Hand One Foot and a Lot of Teeth - DEATH BY DAWN

Release Date - May 22nd, 2006 Label - STF records

Country - Münster, North Rhine-Westphaliap

Death by Dawn is a very overlooked band in the thrash death genre leaning closer to thrash. With vocals by Martin Van Drunen we all know that part is well taken care of. the music is not his normal forte except maybe Comecon stuffs. the production is pretty raw and the album is equally as comparable to their demos, earlier and later. I hear a bit of punk and hardcore influences at times as well. When I listen to this album I wonder how something so fucking awesome could be so overlooked, especially with the caliber of musicians and vocals. STF was a relatively small label so I am thinking they might have not pressed many but its a shame. any fans of thrash/death in the vein of Comecon or Pestilence.

The nicotine lobby is by far my favorite track on the album just because of the brutal beginning and the vocals. there isn't a bad song on the album and if you haven't heard this you are missing a very solid album. I do not do in depth reviews or embellish as I leave that for you to decide.this is basically just to get your attention to listen to a very fucking good album you might not know about.

4.5/5



Tracklist



1. Divorced, Conicted, Fired 03:41

2. A Day Without the Band 06:17

3. Profit 04:16

4. Parliament of Decadence04:56

5. The Nicotine Lobby 05:48

6. The Deceiver Silenced 04:34

7. Welfare Paradise 04:50

8. State Paranoia 04:03

9. Not Afraid to Die 08:29 

 

 Reviewer - Jeff  Fischer