“Australia’s death-metal upstarts Werewolves channel the zeitgeist of the 21st century with their fourth full-length, My Enemies Look and Sound Like Me. Take in the apocalyptic imagery and try to imagine what lurks within. Gratuitous self-mutilation, friendly discourse between neighbors, a horse, and a guy plugging himself directly into the Hell-Matrix—truly an album cover that screams “everything is fine”. Everything is fire.
“Imagine taking fecal samples from early days Carcass, Exhumed, and Autopsy and smearing them all on rye toast. The titanic shit sandwich you’d create would be Portland’s own Dripping Decay. Why you would be smearing fecal samples on toast in the first place, I don’t know, but it seems appropriate considering the cesspool that Dripping Decay drips and spews all over their Festering Grotesqueries debut.” Rip and drip.
“On the surface, Blight House sounds very much like a classic death metal and grindcore mashup, biased towards the caveman and gore variety of each genre, respectively, and then filtered through a raw and grimy production.” It was the best of times, it was the liverwurst of times.
“Swedish goofballs Birdflesh return with another fun, uproarious and colorful explosion of old school grind on their sixth LP, Sickness in the North. The veteran trio smash out the follow-up to 2019’s thoroughly enjoyable, Extreme Graveyard Tornado, and all is good in the grind world.” Birds of a feather grind together.
“You don’t know shit until you read this. It’s not opinion; it’s science.”
Saunders and Felagund demand to have their Top Ten(ish) lists heard across the land. We obliged.
“Lovable gorehounds Exhumed return after a three-year recording gap, feeling rather nostalgic as they celebrate their lengthy history, bringing back old cattle into the writing process, and musically, continuing the throwback trend of previous album, Horror. Since picking up the gore metal baton fumbled by idols Carcass on Swansong, Exhumed carved a remarkably consistent career. While lovingly inspired by the English legends, Exhumed were never content with mimicry.” Huzzah to the ripper.
“Over the years, I’ve come to realize that death metal is more about the visceral reaction that your body and mind have to a barbaric aural bludgeoning than it is about memorability, and I’ve thus come to enjoy entire albums full of quality metal of the dead variety. But every once in a while, a death metal band comes along with the apparent intent of providing that same visceral journey while simultaneously providing riff after memorable riff, a host of unforgettable solos, and enough stylistic changeups to keep the listener on their toes. California’s Vrenth is just such a band.” Death with life.
“Someone forgot to put the surgical steel away, so Consumption grabbed it and started cutting. On Necrotic Lust, Hákan Stuvemark of Wombbath applies his gift for blending the heavy and the catchy to an album of straight-up Carcass-core. These nine symphonies of sickness aren’t trying to hide their debt to the English masters of grinding death metal; the promo copy makes the connection explicit, and Jeff Walker himself takes over lead vocals on “Ground Into Ash and Coal.” The band exists somewhere on the Gruesome Continuum–they’re willing to flirt with tribute act status if that means they can pump out new variations on the jams that inspired them.” Necrofanciers unite.
“In The Beyond, Italian director Lucio Fulci’s second film in what’s commonly referred to as the “Gates of Hell Trilogy,” an entombed carcass is exhumed and, before an autopsy is conducted, is hooked up to a brainwave machine thanks to a lab tech with a sense of humor. Thankfully the room had a “Do Not Entry” sign so the fellow had some privacy. In Nightmare Necropolis, the second record from Finnish death metal band Cadaveric Incubator, the band takes influence from Entombed, Carcass, Exhumed, and Autopsy. A tree with breasts, a puking skeleton, and what looks like a very sad frog atop a tombstone adorn the cover thanks to an illustrator with a sense of humor. Let’s ignore the sign(s) and entry into the necropolis.” Make way for the Incuba-TOR!
