“We all have our dirty metal secrets that we selfishly keep to ourselves, only sharing with a select few close to us. Or alternatively, we incessantly talk up underground gems and spread the gospel to anyone that will listen, as we cherish our slice of underground cred. Into the Obscure aims to right the wrongs and unearth the artists/albums that for whatever unjust reason didn’t get the exposure, appreciation or credit they sorely deserved the first time round.” Be Defiant.
“We all know a veteran metalhead who shows up to every gig – that older fella who has been going to shows since 1974, standing in the same spot, never going to the toilet, just nodding his head and occasionally, slowly, raising horns to the sky. He usually has wispy grey-white hair that flows, wizard like, to his ankles. He usually wears a faded Morbid Angel t-shirt purchased at a ’87 gig when they passed through the town. He has a battle jacket packed with patches of obscure speed-metal bands from 1985 and crust-punk bands from Wales. He was born on the sticky floor of the venue. He is God. The members of Shed the Skin are the same. They’re the grizzled veterans of the death metal scene.” Olde skin.
“Decrepid is a death metal band from the UK. Predictably, I didn’t guess that on my first listen to Endless Sea of Graves wherein, like any responsible critic, I ignored every digital square inch of promo material the label sent me. Decrepid sound American to my ears, taking most of their songwriting cues from Immolation, Incantation, and Monstrosity and their production cues from Morrisound.” Death over nations.
“Grindcore is very much a niche genre in the realms of extreme metal. I was exposed to the classics to develop my appreciation and fondness for grind, and despite being jaded at times in the modern era, there’s certainly been no shortage of killer bands and great albums in the post-Nasum landscape. But there’s a particular album that tends not to gain the traction or appreciation it sorely deserves. Australia’s Captain Cleanoff boast a long history in the grind scene, yet there recorded works are relatively scant.” Fine grind.
“I’ve come around to better goregrind since, first by early Carcass and then Haemorrhage and General Surgery. Novelty grind, such as the shockingly good Trappist, has also wormed its way into my rotation. I haven’t listened enough to form an opinion, but Bitchfork and their “farm grind” is making a splash too. Defecal of Gerbe is novelty goregrind, except instead of gore the focus is on the scatological. Mothershit is also sung in French, meaning I miss about ninety percent of the jokes outside of some titles. C’est la vie.” POO-urns.
“As I write this, I’m locked into a bitter war with an uncommonly potent cold. The irony of being as mucosal as the everyday gland isn’t lost on me while I sit and cogitate on the importance of nomenclature during another play-through of Ravaged Spleen Outburst’s debut. Many bands can trace their humble beginnings through a youthful yet indelible moniker, even in the face of unmistakable growth. This is something the one-man Serbian slaughter machine responsible for Ravaged Spleen Outburst likely knows something about.” You’ve got some spleenin’ to do.
“We all know AMG‘s policy on supergroups, but if ever there was an act that continues to entice, it has to be the Swedish Modern Prometheus, Bloodbath, a band responsible for creating two of my very favorite death metal albums and reliably catering to all my HM2 needs. Our very own Steel Commander saw fit to furnish their previous release with a favorable review, and while I didn’t enjoy it quite as much, I can’t say they have ever truly disappointed me. Four years drinking deeply of the grave has re-energized the quintet to return and beguile those of a buzzsaw bent with another foray into the old-school.” Bloody arrows of death.
“Heartwork, the fourth album by Liverpool’s Carcass, was an anomaly in 1993 for several reasons. Sure, the signs existed on 1991’s Necroticism – Descanting the Insalubrious that the Brits were growing more proficient at their instruments, and were slowly leaving their goregrind roots behind them. But while Necroticism kept one foot in their murky, surgically grotesque past, Heartwork, saw Carcass eschewing gory lyrics and guitarist Bill Steer’s growls entirely, trimming the fat considerably, and saw them streamline their attack with incredible lead guitar work, hooks galore, and a simplified verse/chorus/verse approach, angering their diehard fanbase.” Still working.
“Everyone loves a good horror movie, and for years Aborted have given us the musical equivalent. Since vocalist and Belgian native Sven de Caluwé began the project in 1995, he’s taken everything from goregrind to Carcassy death metal to melodic groove experimentation and bludgeoned it into his grotesque sonic mold. If you want to know what Aborted sounds like, shove your fist into a jar of old mayonnaise while watching the grossest horror film you know.” Special sauce and TerrorVision.
“If there is one thing you can count on in the realms of heavy metal, it’s bands creating names that fit their musical vision. Carcass definitely paints a vivid picture of death metal just nicely. And a band with a name like My Dying Bride is usually guaranteed to bring The Mope™ like few others do. So you can imagine what was going through my brain when Germany’s Goat Explosion threw their debut album, Rumors of Man, our way.” Face goat toward enemy.
