Showing posts with label Obituary. Show all posts
Showing posts with label Obituary. Show all posts

Monday, 16 January 2023

ALBUM REVIEW: Obituary, "Dying of Everything"

By: Richard Maw

Album Type: Full Length
Date Released: 13/01/2023
Label: Relapse Records
 


“Dying of Everything” CD//CS//DD/LP track listing:
 
1). Barely Alive
2. The Wrong Time
3). Without a Conscience
4). War
5). Dying of Everything
6). My Will To Survive
7). By The Dawn
8). Weaponize The Hate
9). Torn Apart
10). Be Warned
 
The Review:
 
Obituary- Florida’s death metal merchants par excellence are back. If the last self-titled album was a rather anthemic collection of death metal, “Dying of Everything” is perhaps a little murkier and a little darker. I rated the previous album very highly- not least because it seemed energised and turbo charged in a way that, say, “Inked In Blood”, was not. The core of the band remains intact- Donald and John Tardy alongside the perennial axeman Trevor Peres. Most recent joining member, Ken Andrews, is firmly embedded here on guitar and pops up in the writing credits while the formidable low end of Death alumni Terry Butler fills out the line-up.
 
Obituary are a unique proposition within death metal. No one else sounds like them. They mix death, doom, mid tempo grooves and the inimitable vocals of John Tardy into a swampy concoction that is immensely heavy, occasionally catchy, sometimes fast but never hyper speed.
 
As is the band’s way, “Barely Alive” opens things here; it’s a characteristically speedy start with Don firing on all cylinders and the band sounding fired up. The production is massive- serious low end and large drum sizes coalescing to make a thunderous racket.
 
From there, the band runs through an admirable gamut of styles. “The Wrong Time” is catchy and grooves in the mid tempo range. “Without Conscience” is prime Obituary while “War” slows things down and echoes 1994’s “World Demise” with its pacing and main riff hammered home ad nauseum. Obituary’s appeal lies in their ability to come up with surprisingly straightforward and catchy songs; often repetitive but never boring- they are masters of their fairly minimalist craft.
 
Ever since “Slowly We Rot”, the band have trodden a different path to their peers. When other bands were getting faster and faster, Obituary slowed down even more. While classic records like “Cause of Death” yielded live staples like “Chopped In Half” and The End Complete” offered up a particularly bleak and downtuned vision of the world, the band later records are just as compelling. “Frozen In Time” rules. “Xecutioner’s Return” was monstrously weighty, “Darkest Day” was prime Obituary, their self titled work was believed by many to be as defining as “SWR” and so on. The band have never really put a foot wrong- other than splitting up a couple of times… but even then the comeback records have been worth the wait.
 
The one thing that quality has bread is a difficulty to differentiate between albums and eras beyond the first. Much like Motorhead and Overkill- or even Cannibal Corpse closer to home, Obituary have never really made a bad album, but they remain defined to some fans by their earliest work. They have their own slot, their own groove and sound and remain one of a kind.
 
As “Dying of Everything” progresses, the band continue to do what they do best- simple riffing, massive drums, insane vocals… it’s all here. If you have listened to Obituary in the past and not been convinced or won over, it’s unlikely that this record will change that. If you have liked any of the band’s albums, you’ll like this one.
 
Whether you are here for the slow-paced crushing songs like “My Will To Live” or the slightly more sprightly “By The Dawn”, your tastes will be catered for. My only wish is that the band would put the pedal to the metal a bit more often. I like when Obituary speeds up and thrashes out. You are always guaranteed a fast opener, but it would be nice if the band exceeded the speed limit more often.
That said, you cannot argue with the double bass drum grooves of “Weaponize The Hate”, the swagger of the title track or any of the lead work on offer here. It’s prime Obituary- and very heavy indeed. The record concludes with “Torn Apart” and “Be Warned”- rounding out 45 minutes- or thereabouts- of Floridian death metal that is simultaneously familiar and brand new.
 
So where does this sit in the pantheon of Obituary records- now stretching back to the 80s(!). Hmm. I think that “Dying of Everything” is probably going to settle as a mid-table/high mid-table showing. It’s not as instant as the self-titled record and not as vicious as “Frozen In Time” but the songs are good throughout and it’s reliably heavy, murky, dark and with all expected Obituary-isms operating in the upper gears. If you like the band, it’s essential listening. If you have never heard Obituary (?!?) then you can pick this album and get the idea. There are few bands at the very top table of the death metal genre, Obituary reserved their place well over thirty years ago and remain there to this day. No mean feat.
 
“Dying of Everything” is available HERE 

Band info: bandcamp || facebook


Wednesday, 28 March 2018

ALBUM REVIEW: Rivers of Nihil, “Where Owls Know My Name”

By: Richard Maw

Album Type: Full Length
Date Released: 16/03/2018
Label: Metal Blade Records



“…devastating, melodic, labyrinthine and jam packed with ideas. “Where Owls Know My Name” will go down as a classic genre expanding album and one giant leap forward in  extreme metal

“Where Owls Know My Name” CD//DD//LP track listing:

1. Cancer/Moonspeak
2. The Silent Life
3. A Home
4. Old Nothing
5. Subtle Change
6. Terrestria III
7. Hollow
8. Death is Real
9. Where Owls Know My Name
10. Capricorn/Agoratopia

The Review:

Following 2015's “Monarchy” was always going to be a mammoth undertaking- as Rivers of Nihil's last record really was superb. They have managed it by taking not only a massive leap forward but also a sidestep of sorts. Think of the difference between “Master of Puppets” and “...And Justice For All” and you have an idea of the differences.

Indeed, this record can perhaps be accurately described as avant garde- in the same way that Celtic Frost'sInto The Pandemonium” was. After the atmospheric scene setting intro of “Cancer/Moonspeak” we are straight into “The Silent Life” which is devastating, melodic, labyrinthine and jam packed with ideas. To be fair, that track description could sum up the whole record. This is not really like anything else I have heard in the extreme metal genre. If “Monarchy” was largely identifiable as tech-death, this is something else entirely.

To be absolutely clear, the textures and sounds on this album are not to be found on many records at this end of the musical spectrum. Saxophone, clean guitars, synths, jazzy drums and noodling bass all combine to make this a fascinating listen. If Cannibal Corpse and Obituary represent two sides of the same death metal coin, then perhaps Rivers of Nihil are akin to something like Bitcoin.

As the record progresses, things get even more progressive; the breadth of sounds and arrangements here are quite dazzling and highly unusual. Picking tracks as highlights is almost impossible being as the record exists as a total piece. It is uniformly consistent in that it is experimental and progressive, it is not in any way samey or boring. The likes of “A Home and Old Nothing” are all of the epithets used so far. There are pulverising bass drums, there are blasting sections of ferocious speed. There are also jazz fusion type breakdowns and an otherworldly atmosphere throughout.

The sounds and approach of “Subtle Change (Including The Forest of Transition)” is a crazily good example of technical performance and forward thinking arrangements coupled with a state of the art production. I guess Mastodon (at their best) could be used as a reference point along with black metal like atmosphere and a harnessing of technology (both in production and instrumentation) that has not always been seen as a good thing in the world of metal.

“Terrestria III: Wither” could soundtrack a 2000AD/Judge Dredd film and contains not a trace of death metal in its sound or scope. The second half of the album pushes forward just as much as the first with “Hollow” or “Death Is Real” being great examples of the record's depth and overall approach (fantastic bass work on the latter) and the title track being an Opeth-like example of prog rock by a band who are absolutely expanding the boundaries of their own playing and also the genre(s) they are operating in.

By the time of “Capricorn/Agoratopia!, I was left wondering (on first listen) what to make of it all. It's hard to take it all in. There is so much going on that the record is very hard to assess on the first couple of listens. I have no idea how much I will listen to this album going forward- it may be all the time, it may be every once in a while. However, one thing is for sure: it will go down as a classic genre expanding album. It's like nothing else I have heard and will deserve the plaudits heaped upon it. One giant leap forward for extreme metal has occurred.

“Where Owls Know My Name” is available here



Band info: bandcamp || facebook

Monday, 22 January 2018

ALBUM REVIEW: Druid Lord - "Grotesque Offerings"

By: Richard Maw

Album Type: Full Length
Date Released: 19/01/2018
Label: Hells Headbangers Records



Fans of Hooded Menace, Serpentine Path and traditional Florida death metal like Obituary or Malevolent Creation can't go wrong here; this is a great example of the doom/death genre and surely one of the musically darkest albums you could pick to play out the winter.


“Grotesque Offerings” CD//DD//LP track listing:

1). House of Gripping Gore
2). Night Gallery
3). Spells of the Necromancer
4). Evil That Haunts This Ground
5). Black Candle Séance
6). Creature Feature
7). Into The Crypts
8). Murderous Mr Hyde
9). Last Drop of Blood
10). Final Resting Place

The Review:

More doom/death of the darkest order from these dwellers of deepest... Florida. Darkness does indeed drip forth from opener “House of Dripping Gore”, but that is not to say that the likes of “Night Gallery” don't swing fairly mightily. In amongst these seven minute epics, there are some sprightly interludes (“Spells of the Necromancer”, “Into The Crypts”, “Final Resting Place), but for the most part it is a sprawling and pitch black listen.

The song titles really do say it all here; “Evil That Haunts This Ground”, “Black Candle Séance”- deathly and doomy stuff. It is not without humour- “Creature Feature” is a fine and flighty song title and the lyrics fit nicely- but how much more black can the music be? The answer is, of course, none! The tracks across the record are mostly slow and creep forward with purpose- great riffs, some superb lead work and even guitar melodies here and there. There are changes of pace here and there- “Last Drop of Blood” is pretty fast and furious (and superb), but for the most part there is more doom than death here, I think.

Fans of Hooded Menace, Serpentine Path and traditional Florida death metal like Obituary or Malevolent Creation can't go wrong here; this is a great example of the doom/death genre and surely one of the musically darkest albums you could pick to play out the winter.

“Grotesque Offerings” is available here



Band info: bandcamp || facebook

Wednesday, 9 August 2017

ELEVEN IS ONE LOUDER: London-based death metallers ABHORRENT DECIMATION choose their top picks for Bloodstock 2017


UK-based death metal titans ABHORRENT DECIMATION released their new album “The Pardoner” on July 28th via Prosthetic Records to rapturous applause.  Conceptually, the new album is an in-depth exploration into "The Pardoner", English poet Geoffrey Chaucer's most depraved and deceitful character from The Canterbury Tales. "The Pardoner" is a religious fraud and hypocrite who preaches against the love of greed, yet whose own love of wealth enabled him to profit off the sins of others. He claimed to work on behalf of the clergy, selling spiritual forgiveness for one's sins in the form of his pardons, which included forged "official letters" from high ranking church officials absolving one of their sins and bones and crystals blessed with healing powers. In Chaucer's story, "The Pardoner" tells a harrowing tale of three men whose materialism becomes the death of them.

It is the bands most inspired, charismatic and dominating material to date and with band set to hit the stage at Bloodstock Open Air Festival this weekend, we invited the band to talk about their top picks for festival and bands to look out for.  So come with us as we take our weekly trip into the extreme and turn the volume all the way up to eleven. 

THURSDAY

The Infernal Sea



If you are going to watch any band on Thursday, watch The Infernal Sea.  We have toured with the guys a few times and there is just something so visceral and eerie about this lot, it a real package band. The sounds, the look, the vibe. Go and find out for yourself. PLUS they are unveiling a new look at the festival. Go and check them out.

FRIDAY

Decapitated



This band is hugely influential to us and one we look at with great respect. I have only seen them live once myself, a few years ago – maybe 2011. So I would be very interested in seeing the guys again, playing some of the killer new album ‘Anticult’. But for me, you can’t beat ‘The Negation’/‘Organic Hallucinosis’ era.  

Soilwork





Back in the day, I loved this band dearly. So purely for nostalgic bliss, I will go and check them out. Unlikely they will play any of the stuff I know as its 10+ years old now but still, well worth checking out.

Whitechapel



Another band that has made an impression on us over the years. Not so much a fan of the newer stuff but they still slay and hold it down very well. In fact, we are playing a Bloodstock warm up show with them Thursday 10thAugust at The Underworld in London.

Inquisition



I’ve seen Inquisition once before and it blew my bloody socks off. Just super moody and a great atmosphere. If you like your Black Metal a little on the primitive side, go and check em out.

Ashen Crown



These guys did a great job of winning Metal To The Masses for a slot on the New Blood Stage. As far as new blood goes, we look forward to seeing how they handle themselves on the sacred NB stage. We know what it means to play that stage and how it feels before you head out. So we wish them the best of luck and hope they have a great crowd for when they go on.


SATURDAY

Hatebreed




Again, another act that sparks off pure nostalgia for some us. I stopped keeping up with them after ‘The Rise of Brutality’ but I know they are a great live act and Jamey really brings the good vibes when he’s on form. I look forward to feeling 15/16 for half an hour.

Fallujah





I know Cooke really loves these guys. So we will all no doubt head over and watch them when they hit the Main Stage on Saturday. We played on the same bill as them last year and they were unlucky with the sound quality. So I look forward to seeing them in the BOA set-up, which in the main, has always been pretty good for sound for an open air.  

Abhorrent Decimation






You’ve got to come and see us. BOA 2014, was such a great show for us on the New Blood Stage. Now we have been invited back onto the next stage up, The S.O.P.H.I.E. We can’t wait to come and smash some heads in with a set exclusively full of material from our new album ‘The Pardoner’. We’ve been quiet on the show front for a little while and with our best line-up ever, we are ready to return with a big performance at the festival.


SUNDAY



Obituary



I’ve seen Obituary a bunch of times and every time, I bloody love them a little more. The anticipation of waiting for Tardy to come out, with his luscious golden mane and release the almighty “bee-ki-uuuugh


Courtesans





Goth Pop? Whatever it is, it’s done well. Truly sultry. Great vibe and well formulated songs. I think it will make a nice break for most ears over the long weekend.



Band info: Facebook || Twitter || Website || Bandcamp 

Friday, 19 May 2017

RIFF REWIND (19/5/2014): Serpentine Path - "Emanations"

Serpentine Path circa 2014
“Emanations” was the sophomore album from NYC doom super group SERPENTINE PATH.  The band’s 2012 self-titled debut was a boldly grim statement of unforgiving misanthropy that referenced both the filthy riffs of Autopsy and the stoney doom of Sleep.  Now officially augmented by second guitarist Stephen Flam, the mastermind behind NYC doom/death legends Winter, SERPENTINE PATH were truly a heavy metal all-star team (the band also features current and former members of doom legends Electric Wizard, Unearthly Trance and Ramesses).  Sure, the pedigree is undeniable, but regardless of their ‘members of’ status, SERPENTINE PATH were one of the heaviest bands on the planet.  Although there is no word on the current status of the band, Unearthly Trance reformed and Tim Bagshaw formed With The Dead with former Cathedral front man Lee Dorian.  SERPENTINE PATH released a previously unreleased song called “Venom” on August 26, 2015 which is available via their bandcamp page, but today our focus is on their sophomore release “Emanations” as we rewind the riffs 3 years ago to the day and look back at this masterpiece of doom which was reviewed by Richard Maw on 19/5/2014.

By: Richard Maw

Album Type: Full Length
Date Release: 23/5/2014
Label: Relapse Records


It is with a great pleasure that I can say Serpentine Path have returned and consolidated the reputation built on the first album. This is an example of the genre done right- the essence of metal is here with all the horror and darkness you could wish for. Gripping and repulsive all at the same time.

“Emanations” CD//DD//LP tracklisting :

1). Essence of Heresy (03:48)
2). House of Worship (04:17)
3). Treacherous Waters (07:46)
4). Claws (07:31)
5). Disfigured Colossus (05:59)
6). Systematic Extinction (07:15)
7). Torment (08:25)

The Review:

Serpentine Path return with their second LP of hate filled doom/death. The band's pedigree (Electric Wizard, Ramesses et al) is well known, so let's cut to the music.

First off, this is destined to be one of the genre's greatest releases this year. It is an excellent record. From “Essence of Heresy” onwards, the record oozes menace and horror. The tempos are slow and the riffs suitably snaking, creeping forward with insistence.

“House of Worship” is slightly quicker with riffs/lead work that recalls the early 90's DM scene. Think Obituary, not Cannibal Corpse, though. “Treacherous Waters” ups the song length and downs the tempo to a crawl. The vocals are brutal, the drums slow, the riffs stellar. There is something very nasty about the vibe of the album- in that regard it carries on the work of the superb self-titled debut. Grim stuff, and compelling to listen to with it- the track has double bass drums, good riffs and progressions and that intangible extra quality of unpleasantness.

“Claws” has a lovely downtrodden and sinister guitar refrain in the intro as the song builds up the sense of dread and paranoia. Again, the deathly vibes are there along with the doom- not as overtly as Hooded Menace, say, but present all the same. This is doom, no doubt, but with a strong injection of the slower elements of death metal as well- and it makes the band unique.

“Disfigured Colossus” brings the band to the latter half of the album and it sounds as the title reads- massive, hulking and ugly. The track fits perfectly as a set up for “Systematic Extinction”. Seven minutes of pitch black darkness. The grooves created are head nodding, to say the least, and the overall effect is of a car crash happening in front of you in slow motion.

“Torment” finishes this doom colossus with well over eight minutes of iron-fisted spite. The song is a good example of what Serpentine Path are all about- unstoppable riffs and rhythms that just keep moving forward, crushing all in their path.

It is with a great pleasure that I can say Serpentine Path have returned and consolidated the reputation built on the first album. This is an example of the genre done right- the essence of metal is here with all the horror and darkness you could wish for. Gripping and repulsive all at the same time.



Band info: Facebook || Bandcamp

Saturday, 15 April 2017

TOP 16 ALBUMS: The Sour 16 for March 2017


Yes, it is that time again O ye lover of riffs, “The Sour 16” returns.  You know the drill by now, each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, “The Sour 16” are the records that have been trending the most at The Sludgelord Headquarters.

The results are compiled based on page views alone and calibrated into the list below.  All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in red)

16). Deadwound - "Identity Shapes" (533)

The South-West London quintet deal in a compellingly nasty blend of filthy sludge riffs, jarring discordance and searing bursts of d-beat fury. Tracks like “Crucifixed” and the crushing dirge of “Witch” come out of the blocks like “Remission” era Mastodon locked in a sweaty basement with His Hero Is Gone.  The band deliver twenty minutes of exhilarating noise that is equal parts barbed complexity and raw simplicity.

 http://thesludgelord.blogspot.co.uk/2017/03/review-deadwound-identity-shapes.html

15). Benighted - "Necrobreed" (556)

Benighted are the equivalent of a gargantuan, hyperactive monstrosity, hybridizing the manic-spastic energy of a joyous slasher rampage with the gurgling insanity of some cthonic abomination. 


14). Power Trip - "Nightmare Logic" (557)

All in all, you would be pressed to find a weak link in “Nightmare Logic”'s sound or mix. It's a pinnacle album for those who need their metal fast, violent, and up in their face like a full scale riot.


13).Stinking Lizaveta - "Journey to the Underworld" (558)

Stinking Lizaveta’s new album “Journey to the Underworld” finds the band in deadly form, crafting music that is seriously weird and complex yet still delivers an addictive riff high.


12). Hey Satan! - "Hey Satan!" (617)

Overall this is a very impressive debut by very talented musicians.  Superb songwriting and extremely catchy rock and roll filled with dueling fuzzed out guitars, loud drums and a dynamic singer.


11). Rezn - "Let It Burn" (630)

REZN relies on hefty passages of music but the key to the band’s sound is how they combine this heft with a droning melody. Imagine Velvet Underground wrapped up in a Mars Red Sky jacket and you’ll understand why these Chicago boys are worth your attention.  This is a gem of a debut and albums of this quality don’t come around very often


10). Ghastly Sound - "Ghastly Sound" (EP) (646)

The Worst” sounds like Torche playing Truckfighters with the ghost of Dio on vocals while “Where The Ghosts Hide” and “Cape Buffalo” bring to mind Big Business indulging in secret stadium rock fantasies with hints of the Deftones in the melodic choruses given free reign with vocalist Tyler Gurwicz doing his best Chino Moreno impression over foundation-shaking riffs.  This EP is a tantalising glimpse of what Ghastly Sound has to offer. Hopefully it won’t be long before they return to show what fist-pumping destruction they are capable of over the course of an LP.



09). Thorr-Axe / Archarus - "The Hobbit" (Split) (678)

From deep within the fires of Mt. Doom comes one of the best releases of 2017 – a Tolkien-themed split from Indiana riff-smiths Archarus and Thorr-Axe.  It spans the whole spectrum that stoner/doom metal has to offer, with each track bringing a fresh sound to the table.


08). Telepathy - "Tempest" (704)

A monsoon of riffs, from slow, knuckle-dragging doom moments to the calculated chaos of Mastodon, spinning on a huge axis with their long, winding loops, this album it hits you like a drug, freewheeling into your body.


07). In The Company of Serpents - “Ain-Soph Aur” (714)

“Ain-Soph Aur” is a heavy experience on all levels. The band have dialled back the volume and slowed the tempo from previous releases which has unexpectedly resulted in increased impact. This album is  towering achievement from In The Company Of Serpents. It is a fine addition to an already distinguished discography and an inspiring work that sets the standard for heavy music in 2017.


06). Hyenas - "Deadweights" (768)

Deadweights” is an exciting opening salvo from Hyenas, it is an exhilarating hit of chaotic hardcore, metal fury and punk’n’roll that takes me back to the early to mid-2000s


05).Obituary - "Obituary" (971)

Obituary haven't sounded this deadly and taut for a long, long time, this is even better than “Inked In Blood”- itself an impressive record, A unique band in the genre.  Obituary have always stood apart from other death metal bands. They now stand above them again, too, because this is a death metal tour de force


04). Fen - "Winter" (987)

When this album is on fire, which is often, it’s absolutely some of the best atmospheric black metal you’ll hear this year. While the build to those big moments can be over-stretched, the payoff is absolutely worth the wait.  But even when accounting for its biggest flaw, I believe that ‘Winter’ will end up as one of the year's best albums. There’s simply too much fantastic material here to be denied.  


03). Dopelord - "Children of the Haze" (1329)

“Children of the Haze” is defined by loose grooves, ghoulish riffing and a very vintage sense of wickedness. Dopelord prove that, unlike many other stoner metal bands, they are not content to just create the same song several times over and call it an album.


02). Hour Of Penance - "Cast the First Stone" (1399)


01). Pallbearer - "Heartless" (1642)

“Heartless” is an incredible achievement from Pallbearer, a set of huge songs that consolidate the best elements of their previous releases while moving into fresh sonic territory. This is the album that should see the band make the transition into stadium-bothering all-time greats, and deservedly so.


A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  March’s Sour 16 features reviews byRichard Maw, Theron Moore, Charlie Butler,  Phil Weller, Victor Van Ommen, Jay Keche, Ben Fitts, Daniel Jackson, Michael Pagos,  Hunter Young & Conor O’Dea