ALBUM REVIEW: Aseethe - "Hopes of Failure"

By: Charlie Butler

Album Type: Full Length

Date Released: 24/02/2017

Label: Thrill Jockey Records

“Hopes of Failure” is sparse and minimal yet packed with detail and intricacies, like Yob and Unearthly Trance stripped of their psychedelic tendencies to let the raw oppressive riffs do the talking.  Aseethe have crafted a slow-burning masterpiece that reveals more with each listen. Every spin increases the pull of its hypnotic spell and leaves you with no option but to submit to its crushing power.

“Hopes of Failure” CD//DD//LP track listing:

1). Sever The Head

2). Towers of Dust

3). Barren Soil

4). Into The Sun

The Review:

Thrill Jockey Records continue to bolster the impressive heavy end of their roster in 2017 with the latest LP from Iowa trio Aseethe. “Hopes of Failure” sounds destined to follow in the footsteps of label mates Sumac and The Body and bother many an end of year list in eleven months’ time.

Over the course of four lengthy tracks the band entrances the listener with their distinct brand of bleak doom. It is sparse and minimal yet packed with detail and intricacies, like Yob and Unearthly Trance stripped of their psychedelic tendencies to let the raw oppressive riffs do the talking. Vocals are kept to a minimum, carefully deployed when necessary for maximum impact such as the pained howls that accompany the snail-paced downward spiral into misery at the climax of “Barren Soil”. Aseethe eschew vocals entirely on “Towers Of Dust”. Instead they focus on aggressive riffage that slowly degenerates into a jerky discordant locked groove reminiscent of Harvey Milk at their most awkward.

The band offer some glimmers of light in amongst the gloom. The middle of “Sever The Head” breaks down to clean picked guitar that brings a hint of Slint-style dark post-hardcore to proceedings. This leads to a passage of restrained heaviness that packs as much of a punch as the punishing riffs that bring the track to a head.

On “Hopes Of Failure”, Aseethe have crafted a slow-burning masterpiece that reveals more with each listen. Every spin increases the pull of its hypnotic spell and leaves you with no option but to submit to its crushing power. 

“Hopes of Failure” is available to buy/preorder here

Band info: bandcamp || facebook

11 IS ONE LOUDER: Frozen Planet….1969 guitarist Paul Attard picks his top 5 psychedelic releases

Although the band name suggests otherwise, Frozen Planet….1969 dates back to early 2012! It was then that a heavy-psych jam session between two Sydney-based musicians, Paul and Frank Attard, and Canberra-based Lachlan Paine, took place.

Luckily, this afternoon of improvisation at the home of Pepper Shaker Records, Frank Street Studio, was recorded. However, it wasn’t until over a year later that the three decided they should finally mix and release some of the material they had created that day.

They decided this album would be set out like a soundtrack to a film. That film would be called “Frozen Planet….1969”. It was a digital-only release on Pepper Shaker Records. Pretty soon this one-off release would become a band called Frozen Planet….1969. The emphasis would be on improvisation. No vocals, just straight-out instrumental jamming. This band would consist of Paul Attard- guitar, Lachlan Paine- bass and Frank Attard- drums. It was basically a side-project for the three of them. Paul and Frank had been playing in the stoner-doom band, Mother Mars. Lachlan was playing in the Canberra heavy rock trio, Looking Glass. After playing on numerous bills together over the years it seemed only natural there would be some sort of collaboration between the two bands at some point.

Frozen Planet….1969 played its first show in February 2014 and it was also around this time that the band recorded another mammoth jam session. From this jam session came the second and third releases for the band, “Lost Traveller Chronicles, Volume 1” (released 20th August 2014) and “Lost Traveller Chronicles, Volume 2” (released 6th May 2015). The concept this time would be a travel journal through the constellations, with each song being a chapter from the journal! Both volumes were released in digital and physical format on Pepper Shaker Records.

Fast forward then to 11/1/2017 and with Frozen Planet….1969 releasing their latest album “Electric Smokehouse” the chemistry between the players – Paul Attard on guitar, Lachlan Paine on bass and Frank Attard on drums is stronger than ever and can be heard in each one of these new cuts. In fact, it’s not only heard, its felt, and that’s what makes this record sound so great. The music is alive, it moves, it gels, and best of all, it’s both heavy and psychedelic.

Given that the album has left such an imprint upon us here at Sludgelord acres, we decided to hook us with the band and  get them to talk about influences. So here is guitarist Paul Attard to talk through his top 5 psych based records, as we take our weekly trip to the extreme, by cranking it to 11.  Why do we go to 11,  because “It’s one louder, isn’t it?”

Hi there.

It's Paul, the guitarist in Frozen Planet....1969 here.

I have a list here of five albums loosely in the psych genre that I absolutely love and have inspired and influenced me in some way with my own music.  I tried to aim mainly for heavy psych rock but there were certain albums I just couldn't look past and they still tie in with psychedelia in some way and they fit in with the spirit of what Frozen Planet....1969 is all about.

These are in no particular order!

Jimi Hendrix – “Band Of Gypsys”

A great example of a jam band and psych rock. This album was recorded live at the Fillmore East and featured Billy Cox on bass and Buddy Miles on drums.  Everything Jimi Hendrix did was great but I've chosen this album because it features some amazing jamming and tonnes of soul! And it was a band that hardly had time to prepare before the show.  They just chose a few songs, got up on stage and then just jammed out.  'Machine Gun' is a stand-out if you want total heavy psych guitar. Hendrix, Cox and Miles on this album (known as the Band Of Gypsys) are just the ultimate psych-rock jam band.  Some seriously groovy bass and drums fill this album also. Only six songs were chosen for the album. These songs were taken from concerts over New Year's Eve and New Year's Day 1969/1970.  So much other great material was left out!

Hawkwind – “Hawkwind”

Hawkwind are known more for being a space-rock band but their first album has more of a psychedelic vibe to it.  It features not only some dark, trippy psych but also some acoustic, more folky, blues sounding material- Which is more where guitarist/vocalist Dave Brock was coming from.  Bottom line is, the range of sounds on this album- acoustic twelve-string guitar and harmonica, some shuffling beats to crazy, way-out sound effects and heavier, darker guitar sounds- covers a great deal of what I like to hear.

Captain Beefheart And His Magic Band – “Safe As Milk”

Certainly not a heavy psych rock album!  But this is just great.  Straight out psychedelia. And with just the right amount of blues which is what the Magic Band had been doing for a couple of years leading up to this album. And I guess it goes without saying that the blues element is a big part of the foundation of psychedelia and psych rock anyway!  Captain Beefheart (Don Van Vliet) put together a batch of psych (and blues) flavoured songs for this album and made them all even more unique with his amazing deep voice over the top. He was always experimenting with sound too and was always evolving.  The magic band (especially in the incarnation that followed this album) were no strangers to the extended jam as well.

Atomic Rooster - “Death Walks Behind You”

This is more of a heavy prog rock album but I think you could still call it a psych rock album. In 1970 most heavy music still seemed to have a psych or blues vibe to it anyway.  Some amazing energy in these tunes and some great musicianship.  They do stretch out at times and jam.  They managed just fine on this album without a bass player with Vincent Crane covering basslines on the organ.  Crane also used a piano on this album and used it to great effect.  Overall, this album is a great example of early heavy rock involving three musicians who could improvise really well together.

Monster Magnet – “25........Tab”

Also known as just "Tab".  This recording is often recognised as an EP or mini-album but I think with an opening track that goes for about half-an-hour and a total playing time of over fifty minutes we can safely call this an album.  The opening track 'Tab' features some great psych guitars and tape delay sound effects as well as some great, solid, driving, yet laid back bass and drums. And later in the song if you zone in on what Wyndorf is saying it only adds to the trip!  A great example of psych rock from the early 90's.

Band info: bandcamp || facebook

ALBUM REVIEW: Deserted Fear - "Dead Shores Rising"

By: Richard Maw

Album Type: Full  Length

Date Released: 27/01/2017

Label: Century Media Records

This is finely honed death metal, referencing all the greats of the genre from this side of the pond and managing to create an identity all of its own. Deserted Fear are ones to watch for sure: feral stuff, crushing all in their path. This album puts 2017 off to a great start for death metal!

“Dead Shores Rising” CD//DD//LP track listing:

1). Intro

2). The Fall of Leaden Skies

3). The Edge of Insanity

4). Open the Gates

5). Corrosion of Souls

6). Interlude

7). Towards Humanity

8). The Carnage

9). Face Our Destiny

10). Till the Last Drop

11). Carry On

12). A Morbid Vision

13). The Path of Sorrow

The Review:

Deserted Fear specialise in the kind of death metal so beloved of Scandinavian and European bands. Don't think Nile or Immolation. Think Asphyx and Entombed. This is the band's third full length and they bring their Teutonic terror to the masses in fine style here. The tanks roll, the sound is pleasingly clear and bright, but with the right amount of grit to make this sound... real.

No super fast blasting here, no so-low-you-can-barely-hear-them vocals. This is honest to goodness (not much goodness) death metal from Germania. “The Fall of Leaden Skies” is the first track after a scene setting intro and it really sums up the record: if you like this one then “The Edge of Sanity” will get your neck snapping in similar fashion.

The band offer up their own sound, but the aforementioned bands, Revel in Flesh, At The Gates, Dismember and so on are all valid reference points. “Corrosion of Souls”, “Towards Humanity” and “The Carnage” offer up concise and rocking workouts; the song writing is lean and effective: riffs, changes, good vocals. Some tracks are pacier than others, but this is all head nodding stuff. Death metal, as I live and breathe!

“Face Our Destiny”, “Till the Last Drop” and “Carry On” cap off the album in grandstanding style; so consistent are the band in their sound that the record just flies by. The album also comes with two bonus tracks, both of admirably high quality and a nice touch from Century Media to include them.  “A Morbid Vision” was my favourite of the two, with its' Bolt Thrower esque pacing. There is absolutely nothing to complain about here. This is finely honed death metal, referencing all the greats of the genre from this side of the pond and managing to create an identity all of its own. Deserted Fear are ones to watch for sure: feral stuff, crushing all in their path. This album puts 2017 off to a great start for death metal!

“Dead Shores Rising” is available now

Band info: facebook

FFO: Grave, Bolt Thrower, Asphyx, Bodyfarm

EP REVIEW: Grim Ravine - "The Light is From Below"

By: Grim Trashcan

Album Type: EP

Date Released: 17/02/2017

Label: Black Bow Records

“The Light is From Below” DD track listing:

1). Shrine of Misery

2). Translunary

3). Hypernova

4). Vacant Mass

The Review:

After my sixth or seventh uninterrupted listen of "The Light is From Below", I almost feel like I can invoke words to properly explain what kind of magic lies within.

Perhaps I measure too much? Sulking over my illuminated keyboard in a poorly lit room, slack-jawed from a day of dealing with life's responsibilities and managing the expectations of others takes its grinding toll. That's where my ritualistic evening reprieve takes form in the sonic conjuring of doom warlocks Grim Ravine. Having been somewhat familiar to this outfits output; the self-titled EP, I was looking forward to hearing what came next.

Hair standing on the back of my neck, chills running from my shoulders across my chest, down my spine and grounding out into the floor is what came next.

The jarring intro to the album's opening track, "Shrine of Misery" makes you appreciate the ability this band has in composing with a long-form sensibility. Imagine a mud-slicked boulder, ripped loose by a torrential downpour and falling ever so destructively towards the bottom of a (forgive the obvious pun) ravine. The bassists tone flash like piano stabs under solar flares of guitar omnipresence. This is the doom of colors, textures and dynamics. Rasped, gasping guttural and freq-sweeping vocalist Gareth Nutbeen holds the listener present by not commanding your ears attention, rather demanding it. They've found the frequency balance here and it's a boulder toss by a behemoth in terms of production nuance in comparison to the first EP. Hats off to whatever entity focused this. 

As the first track settles down, a moment of bleak dynamics and mood-setting takes form in "Translunary". We are met with a hypnotic bass melody accompanied by the unsettling, glistening drips and cavern breaths of eerie presence,  ripped roughshod with an intro that sounds like your high school hippie art teacher having his head smashed into the glass bed of his overhead projector, then the third track "Hypernova" explodes into orbit. A mid-tempo affair, this one rolls like blood down an Orc's maw, only to pause and stretch, intermingle with battle sweat and spittle and drop to the mud. Once again, the sweeping sonic overlays and delicate production nuance don't exist to prove their existence, rather to add to it. Same is true for the singers' addition to this frenzy- he's not there to stand out on the battlefield as an aural target, more of an all- encompassing entity. As this track seizes and contorts to its inevitable demise, I find myself almost wanting to hit repeat to get dragged through once more. The drummers percussive balance sits solidly where it should, no diddling, noodling or gymnastics- a solid frame to hold this all up. It's a lot to hold, mind you. 

The fourth and final track, "Vacant Mass" rises from the depths of a feedback-induced droning lament. It then takes form, with vocal cues and then lifts off with the percussive timing and weight of exactly what the song is called, a mass rises and lifts. Somewhere around the 3 minute mark of this, you feel like you've reached a plateau of experience only to be jarred and shifted in other directions midway through minute 4. Not up or down, just outwards in all directions simultaneously. Halfway through this almost 13 minute affair, the entire mass explodes and you're made to tumble downwards on the monolithic shards of audio landscape. Just as you become familiar with the sense of melody or riff in this new spot, the song drops out and pans back to show you the vast space around you. Consumed by the experience laid from the beginning, they cleverly step you back from all of that and let you gain a sense of relative ease. To be charged and blasted once again into oblivion. 

Thanks Grim Ravine. You are an anomaly in it's purest definition. I can't describe your sounds succinctly enough to give them their due justice or proper praise. For me, that's probably the best compliment I can give. Perhaps I measure too much?

“The Light is From Below” will be available from 17^th February 2017

Band info: bandcamp || facebook

ALBUM REVIEW: Octo - "Kitsch"

By: Jay Hampshire

Album Type: Full Length

Date Released: 03/03/2017

Label: Krachladen Records

 

Their bass heavy instrumental sound sees them swimming in the same tidal pool as acts like Big Business and the legendary Melvins, but perhaps without the anthemic hooks of the former and the flagrant disregard of genre boundaries of the latter.  An enjoyable soundtrack, if not a cerebral challenge.

 

“Kitsch” CD//DD//LP track listing: 

1. Octo Kaa Wai

2. Ihre Idole sind Luegner

3. Arr arr Cincinnaticat

4. Uhu

5. Saudade

6. Trio Paradisoprivan

7. Kanarienvoegelnerven

The Review:

Cologne based ‘bass rock trio’ Octo certainly tick all three of those boxes. Their bass heavy instrumental sound sees them swimming in the same tidal pool as acts like Big Business and the legendary Melvins, but perhaps without the anthemic hooks of the former and the flagrant disregard of genre boundaries of the latter.

Opener ‘Octo Kaa Waii’ certainly isn’t cute or demure, striking out with a flatulent bass groove that flits around with antsy, almost nervous energy. When the drums lock in, things start to drive, and the bass tone throughout (and indeed throughout the record) is pleasingly chunky. It spools out into a real head bobber, powered by some impressive kick work, ending on big scraping held notes.

‘Ihre Idole sind Luegner’ is absolutely filthy, dripping with madcap tempo shifts, ballsy straight eights and brief snippets of more melodious lines. ‘Arr arr Cincinnaticat’ burbles and bounces along, throwing in curve balls of stop-start riffs and atonal overlays, but is hampered by a call and response section that drags a little.

‘Uhu’ from a muted fret-noise loop into jarring, chugging single notes that hit with mechanical, punchy precision. ‘Saudade’ twists and turns as toms mete out a big, infectious groove, before closing with a righteous fuzzed-out solo run. ‘Trio Paradisoprivan’ is more of a thoughtful meander, not as punchy with a decent amount of considered layering. Finale ‘Kanarienvoegelnerven’ follows a similar path, sweeping with a cinematic post-rock flair and an edge of the dramatic, petering out into a frail synth whine.

While the trio achieve a lot using all their rhythmic, groove laden powers, there’s a sense of ‘lack’ surrounding “Kitsch”. It’s not as simple as a lack of vocals or high-end instrumentation. Overall it seems to be a lack of true dynamic shift, of differentiation between each track. While the songs are all different, there seems to be an absence of truer form or distinction – nothing on “Kitsch” will really grab the attention of most. ‘Aimless’ is too cruel a word, but the trio don’t possess the same surety of purpose as some of their peers. This isn’t to do the band a disservice, it is just that the album seems to place itself into ‘background listening’ territory. An enjoyable soundtrack, if not a cerebral challenge.

“Kitsch” is available to buy/preorder here

Band info: bandcamp || facebook

ALBUM REVIEW: Ånd - ‘Aeternus’

By: Daniel Jackson

Album Type: Full Length

Date Released: 04/11/2016

Label: This Charming Man Records

This is only the band’s debut but there is a ton of promise here, they present an  engrossing style, smart arrangements, and excellent production, but as good as this is, I only see them getting better from here.

‘Aeternus’ CD//LP track listing:

1. Auferstehung

2. Verstoßene

3. Niedertracht

4. Illusion

5. Dämmerung

6. Schatten

7. Heimkehr

The Review:

Try as we might, it’s impossible to catch every worthwhile release in a year, even for someone with a pretty limited musical taste, like myself. With that in mind, Ånd’s debut album ‘Aeternus’ was released a couple of months ago, and it is absolutely worth your time. There’s plenty to dig into here, despite the album’s extra-lean running time.

Post-black metal has been around as a subgenre, in some form, for more than ten years now. To this point, the term has largely been reserved for a couple of key stylistic groups. The first would be bands in the Alcest or Deafheaven vein; black metal and shoegaze hybrids. The second group occupies a heavier space, focusing on sludge or grind and hardcore as musical counterpoints. While much closer to that second group than the first, Ånd doesn’t truly fit into either mould.

Over the course of the album’s twenty-six minutes, the band showcases a sound built upon a contrast between slowly picked black metal melody and deep resonant chords for added heaviness. This gives the songs a full, layered sound, and it’s easy to get swept up in the moment as the album goes on. This leads to a very cohesive overall sound for a first album, though stopping well short of ever feeling repetitive, even as the songs are often variations on a similar musical theme. “Schatten” stands out for being speedier than the vast majority of the album, but even then it’s reserved compared to most other black metal.

Another key point to consider about Ånd is their inclination to remain concise. None of the songs on the album breach the five minute mark, which is quite the rarity for a black metal band, a reliance on building mood and atmosphere. It speaks to the band having a strong grasp of what their sound is and should be, and to their strength as songwriters. This is only the band’s debut but there is a ton of promise here: the engrossing style, smart arrangements, and excellent production. As good as this is, I only see them getting better from here.

‘Aeternus’ CD/LP is available here.

Band info: Facebook

ALBUM PREMIERE: Multi-faceted doom metal beast Ever Circling Wolves debut “Of Woe or: How I Learned to Stop Worrying and Love the Gloom"

Named after an Earth song that in turn was named after the first sentence in William Gibson’s “Pattern Recognition”, Ever Circling Wolves from Helsinki, Finland wear some of their influences on their sleeve; others, not so much. At the core of Ever Circling Wolves’ music is doom metal, a multi-faceted beast of a subgenre by now, and this four-piece attempts to draw from this well in a distinct manner and occasionally sprawl into whole other territories.

Born as Henri Harell’s solo project in 2007, Ever Circling Wolves became a real band in 2008 when Arttu Kantola, Otto Forsberg and Niko Karjalainen entered the fold. This line-up recorded the band’s debut full-length album, “The Silence from Your Room,” which was self-released in 2009.

In 2010, Arttu left the band and was replaced on bass by Sami Nevala. To celebrate this, a two-track ep, “Chapter III”, was recorded and unleashed upon the internet in early 2011. At this time, the band was also preparing songs for their sophomore full-length, with recordings starting in 2012. A mountain of a project, due mostly to the conflicting schedules of all involved, it wasn’t until early 2016 that the album, “Of Woe or: How I Learned to Stop Worrying and Love the Gloom”, was finished. By this time, Niko had moved away from the capital region, and though still a member of the band and playing with them whenever time allows, had been filled in for by Eero Järvenpää in practice sessions and shows alike.

With a release date for the album set for the 27^th January via Cimmerian Shade Recordings, today you can stream the album in full below. Preorder or buy the album here and for more information about the band check out the links below.

Band info: official || facebook

ALBUM REVIEW: Carnaval - "Miss Universe"

By: Luciano Penelu

Album Type: Full Length
Date Released: 21/121/2017
Label: Kapa Records

This album is a fine piece of Stoner Metal, and is as well executed and produced, as any other great and famous band on the scene. Grab a smoke, sit down and listen to it. You will see what I mean.

“Miss Universe” CD//DD track listing:

1). New Shoes of Mine

2). Seven

3). Moon Shuffle

4). Round Nose Cat

5). Bluebird

6). Space Bar

7). Silver Starlight

8). Rocket

9). Burning Sun

The Review:

The Slovenians of Carnaval have history. They’ve been around since 2004, and "2" (2009), "1" (2010) and "Tennis Football Basketball" (2012), their previous albums, are strongly recommended Stoner jewels. Listen to “1”, as a warm up and you will see that these guys don’t fuck around: by that time they already were a solid and impressive band.

Now, four years after the last full length, they overwhelm us with this “Miss Universe” (2016, Kapa records). It is an impressive album. During its nine tracks, everything works perfectly. I would say that it is everything you can expect from a good Stoner band, with some extra hand of personality and care. On the track “Seven” (track 2), for instance, it is amazing how the drums are executed, followed by some well-placed percussion work and acid bass lines, fat guitars and beautiful vocal work, with the vocals playing an important and central role throughout the album. It makes an interesting contrast with the other instruments, balancing the formula with some delicacy. During the tracks, the right-placed guitar solos are like a relentless dope binge for ears, and the drums are very creative, brilliantly followed by the bass in these moments.

Sometimes, like in the opening track “New shoes of mine”, maybe because of the dense guitar tones, or the connection with the Blues, it reminds me of Goatsnake, and I cannot think of a better band to reference. The studio / production work also deserves a lot of recognition. It sounds fat and greasy, and it pleases me a lot.

As I mentioned before, Carnaval is a mature band firing on all cylinders and on this “Miss Universe”, there are no loose ties, and all songs are great. “Bluebird” is one of my favorites, with its hypnotic riff that echoes for days. It is that kind of music that can last for an hour, and that’s all our stoned minds could ask for. The next one, “Space bar”, is also catchy, beautifully executed and reminded me a lot of Red Fang.

This album is a fine piece of Stoner Metal, and is as well executed and produced, as any other great and famous band on the scene. Grab a smoke, sit down and listen to it. You will see what I mean. 

“Miss Universe” is available here

Band info: facebook || bandcamp

11 IS ONE LOUDER: Gatecreeper front man Chase H. Mason aka Hellahammer chooses his Top 5 Death Metal Records

In October 2016, Arizona newcomers GATECREEPER delivered their stunning new album, 9 colossal tracks of low-end, old-school death metal that would form the basis of their ferocious 'Sonoran Depravation' album.

Having devastated the underground since their formation less than three years ago, GATECREEPER unleashed their first full-length to widespread acclaim.  Produced by Ryan Bram at Homewrecker Studios and mixed by the master Kurt Ballou (Converge, Nails, Black Breath) at God City Studios.

 'Sonoran Depravation' is a 30+ minutes infusion of crusty, doom-soaked death metal at its most infectious and uncompromising, indeed when they use melodies they're more creepy than pretty. They seem to only be there to allow you to catch your breath before they sit on your chest and start punching you in the face again.  With a sound that calls to mind the classic Swedish death metal bands Dismember and Grave mixed with the impeccable groove of Obituary and Bolt Thrower.   Anybody into extreme music should be able to enjoy the simple brutality and groove this band offer. 

With the band slowly carving a name for themselves within the scene, we caught up with front man Chase aka Hellahammer to talk through his top 5 Death metal albums, as we take things to the extreme, by cranking it to 11.  Why do we go to 11, “It’s one louder, isn’t it?”

Grave – “Into The Grave"

Grave came out swinging with this debut LP. Caveman death metal from Sweden. Simple heavy riffs with just enough groove on top of some very entertaining drumming. This album taught me that it’s ok to throw in some low-key mosh riffs once in a while.

Dismember – “Massive Killing Capacity”

I know this one isn’t commonly considered Dismember’s finest work, but it’s definitely my favorite. They changed their song writing a bit on this one to adopt more of a “rock” approach and the vocals are a little more “shouty” but I think it all works perfectly. So many catchy riffs! Every song has multiple sections where I can’t help air guitar-ing or singing along. I listen to this album at least once a week and it never gets old.

Deicide – “Once Upon The Cross”

Perfect death metal album. It’s blasphemous, hard, and most importantly, catchy! It’s not an easy feat to make things catchy in death metal without sounding corny and this record has hooks all over the place.

Sentenced – “Shadows of Past”

I feel like this album doesn’t get the recognition that it deserves. Finland put out a lot of good death metal, but this one is definitely my favorite LP. It is the perfect mix of Obituary, Bolt Thrower, and “Leprosy”-era Death. There are huge chunky riffs combined with catchy and memorable leads. I love everything about it including the title’s poor grammar and the Middle School art class colored pencil cover (both of which were changed for the re-issue… shake my head). This album is a definitely a huge influence on what we do in Gatecreeper.

Death – “Leprosy”

“Leprosy” is what I would consider THE classic death metal album. This album will continue to be emulated as long as death metal exists

Band info: bandcamp || facebook