The Lazarus Pit: Believer’s Sanity Obscure

By: Jeff Treppel Posted in: featured, lazarus pit, listen On: Friday, November 9th, 2012

Into the woods

Welcome to The Lazarus Pit, a biweekly look at should-be classic metal records that don’t get nearly enough love; stuff that’s essential listening that you’ve probably never heard of; stuff that we’re too lazy to track down the band members to do a Hall Of Fame for. This week, we have, by special request of The Editor in Chief, the Jesus thrashing madness of Believer’s Sanity Obscure (REX Records).

I hope you guys like your thrash metal with some ultra technicality, because Believer make Dark Angel look like Hirax. Emerging from the middle of nowhere, Pennsylvania, as a melodic metal outfit in the mid-80s, the brainchild of drummer Joey Daub and guitarist-vocalist Kurt Bachman (the only two constant members of the band), they quickly took their place at the forefront of the Christian metal scene by virtue of being not terrible. They also had crossover potential which led to them hooking up with Road Runner – despised their confirmed beliefs and Bible-based lyrics, they weren’t as preachy as groups like Sacred Warrior or Messiah. Plus, they could seriously shred.

Let’s be honest here – killer music will get metalheads to overlook just about anything, whether it’s religious views they disagree with or, you know, burning down churches and killing someone in cold blood. Believer approached their music with a level of inventiveness, ambition, and experimentation matched only by peers like Anacrusis and the aforementioned Dark Angel. Although their debut, Extraction from Mortality, had some pretty rad thrash going on, it wasn’t until their sophomore effort, 1990’s Sanity Obscure, that they started twisting time signatures like steel-plated balloon animals. Their highly complex approach wasn’t nearly as catchy as bands like Metallica or Megadeth (hence their comparative lack of success), but they pull it off with gusto.

It’s apparent immediately that the listener is in for something different, considering that this starts with the sounds of a music box dissolving into discord. Then the thrash starts, but it’s pretty idiosyncratic – both guitars playing riffs that almost contradict each other with a ferocity that rivals death metal’s. Apparently this song inspired the music for a level from the videogame Doom, which is pretty novel. “Wisdom’s Call” brings in some arpeggio runs before kicking ass, while “Nonpoint” mixes melody with stop-start rhythms. Subsequent tracks follow along the same lines, with one notable exception, which is, ironically, probably their most lasting legacy: “Dies Irae (Day of Wrath).” This particular tune is one of the earliest recorded examples of symphonic metal, using orchestral parts and operatic female vocals that presaged both Nightwish and S&M. It’s unlike anything else on the record, or really anything else at the time, and it alone would cement this album’s importance even if nothing else did.

Believer would go on to release one more record, which went even more experimental, before going on hiatus for a decade or so. They returned with a couple, somewhat strange (see this magazine’s reviews) records, and they’re still a going concern. Whether it’s their Christian connections or arriving a little too late in the thrash cycle to gain attention, though, they just never really gained the status as innovators that they deserve. It’s insane that they’ve been obscure for this long – don’t miss out on this classic.

Official site

Buy it here!

Throw Me a Frickin’ Label Hack: OK’s Lost Empires

By: Dan Lake Posted in: featured, interviews On: Friday, November 9th, 2012

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Because every day another band records another song.  Because 83% of those songs are unlistenable and you can’t be bothered to sift through the dreck.  Because metal is about not giving a shit and waking your own personal storm.  Because music is universal, expression is boundless, and even indie labels (whatever that means these days) don’t know everything, Decibel brings you Throw Me a Frickin’ Label Hack.

This summer, a new Oklahoman sextet smeared their punked-up melodeath into the shape of a six-song, sub-23-minute EP.  Lost Empires’ blend of spacious riffing, hardcore sneer, and florid keyboard accents subtly recall Year of Our Lord’s similarly colorful meanderings on the band’s debut recording, Death and Evil Beasts.  At this moment, they are out touring the States, so head on over to their Facebook or Bandcamp pages to find out if they’re coming through your area.  And while you’re there, get a listen to (honestly, the stronger) half of the EP.  But first, find out what Lost Empires are all about by reading guitarist Brad Blanco’s thoughts on the band’s origins, personality, distaste for female circumcision.

Who are Lost Empires, and how did the band come together?

Lost Empires are from Norman, Oklahoma and consist of Brandon Davis on vocals, Ryan Kilby on lead guitar, Brad Blanco on rhythm guitar, Luke Enterline on bass guitar, Abe Hartley on keyboards, and Jeremy Hodson on drums.  LE started during the winter of 2010-2011. Our bassist Luke had approached me saying he had found a guitarist and they wanted to start playing some metal. So Luke, Kilby and I got it going, but Luke founded the band.  Funny story: I was unloading my gear to jam with them for the first time and I could hear Kilby shredding from outside the house, so I knew it was going to be good!! Then we got Abe and Jeremy on board, and finally Brandon stepped up to complete the band doing vocals.

How did the EP come about? Are these songs that have been around a while, or were they written specifically with a release in mind?

We were talking about what we wanted to do for a release, full length or EP. As most folks know, recording costs a lot of money, so to get the best bang for our buck we decided on an EP. Hopefully that way the EP would get some folks attention and we could hit the road sooner.  Basically we wanted to start playing shows as soon as we could so we needed a release to support; [an] EP just made sense as the first release.

What was the recording process like for these tracks?

We started by doing pre-production at our practice space to a click track, then once we got the songs down the way we liked them we took our riffs to Watershed Studios in Enid, Oklahoma. Our good friend Barry Johnston was our engineer while our drummer Jeremy was his assistant throughout the tracking.  Once everything was edited, the songs were sent to punk legend Stephen Egerton at Armstrong Studios in Tulsa, Oklahoma to be mixed and mastered.  We wrote a few little things in the studio, but the majority of the EP was already written when we went in to track.

Can you give a track-by-track commentary on what you think/feel about these songs, where they come from and how they turned out?

            “Black Sails”: Kilby wrote this song, he had it I think before we started jamming as a band.  I like this song because it has a kind of deep rich riffing to it. Not super technical or fast, but just solid riffs with some cool guitar harmonies at the end.

            “Life Lessons”: Another Kilby banger, I helped him with some riffs that finished the song out.  This songs starts out in an epic build up which I personally think is one of the best embodiments of what LE sounds like.  When we were finishing this song, it was like we took all the best parts of all the different genres of metal out there and cherry picked what we liked the best and wrote a song.  That’s what we’re trying to do with LE, reinvent the wheel.  Take all the classic, quality and passionate traits from metal that we love and turn that into our own blend of metal.

            “Machete”: Jeremy, our drummer, wrote this song. He has such an original style to the way he writes music, drums or guitar and it really shows on this track.  This song is also very fun to play live.  Machete has our strongest lyrical theme to it also, the lyrics point to the massive suffering caused around the world by forced female circumcision. If you don’t know anything about this you should read up on it because it is especially heinous and demands global attention.

            “Power Goat”: I wrote this song and it is really fun to play live! We needed a “power” song, something that came off super full and saturated live and with thrashy verses, it just rips to play. It is essentially a punk song dipped in drop C tuning.

            “Tower or Flies”: This was the first LE song to come to fruition. Once we started jamming, I was messing around with these riffs and we kept working it until we had this speed demon of a song with this full swanky middle part and a ripping guitar solo near the end. Definitely my favorite song to play live, hands down.

            “Unkindness of Ravens”: This one was a collaboration between Jeremy and I.  This is one of those songs like “Life Lessons,” where we tried to take all the good stuff that we liked from metal and turn that into a new song.  It starts out with this pretty piano part, then blasts into a sort of melodic death riff, then it just turns into a LE song. I remember this song being especially difficult to record for some reason.

That artwork is freaking cool. This is not a question. Just a fact. Respond if you want.

Yes it is, thank you. Our dear and talented friend John “Pino” Hart did this for us. I’ve always been amazed with John’s work and he is insanely talented. You can check out some of his work at http://pinoretread77.deviantart.com/

What music/art/etc. is having an impact on Lost Empires right now?

Right now a bunch of the dudes are in Austin at Fun Fun Fun Fest and I know they will be catching Kvelertak’s set. This band is from Norway and kicks so much ass.  We’ve been listening to a lot of that (Kverlertak) and the new Propagandhi and The Sword just came out so those are high in the rotation also.  We really have quite an eclectic taste in music as far as our individual tastes are concerned.  I like a lot of old country, some of the guys hate it. In my opinion a good song is a good song, and that transcends genres.

What is non-musical life like for LE members?

Non musical life for LE consists of doing a bunch of crap we hate. (Just kidding, work!)  I make maps for an oil and gas land broker and wait tables on the weekend; Kilby works at a call center; Luke is a pharmacist tech; Jeremy does land surveying; Abe is a bartender; and Brandon does something creepy at a hospital.  We serve our time, pay our bills and get together twice a week to write. We go out and drink, hang with our friends and family, check out bands at shows and Thunder the fuck up for Thunder basketball!!!

What are you looking forward to with the band?

I really would like to travel and meet as many people as possible. I love the dudes I write with and I’m looking forward to hitting the road and spreading the good word.  Essentially, traveling and playing as many shows as possible is what we want to do.  Buy us a beer when you see us and let’s talk basketball!

PAY ATTENTION, THERE WILL BE A QUIZ. SAY “HEY” TO AUROCH

By: kevin.stewart-panko Posted in: featured, listen On: Thursday, November 8th, 2012

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In the boundless quest to distinguish one’s band from metal’s ever-growing pack, comes another new sub-genre, given birth by Vancouver’s Auroch. Referring to themselves as “Lovecraftian death metal,” the trio is set to release their debut full-length From Forgotten Worlds via Poland’s Hellthrasher Productions. The band’s debut, which follows a spate of five demos that date back to 2008, was actually self-released earlier this year before being snatched up by the Polish label and contains eight songs of the aforementioned Lovecraftian metal. We’ve provided you with a couple of tracks from the album below with the hopes that you’ll give the tunes a whirl, crack your heads open and tell us, “Just what is Lovecraftian death metal?”

Wanna buy? Go here or here

Want more info? Go here

If you find yourself in the area and so moved, check out one of the band’s rare live appearances:
Nov 10 - Logan’s Pub @ Victoria, BC w/ Dire Omen, Burialkult, Acolytes ov Impurity
April 6/2013 - ‘Torment in Fire Metal Fest II’ @ The New Black Centre for Music and Art – Calgary, AB w/ Mystifier + more

[photo credit: Max Montesi]

Decibrity Playlist: Aaron Stainthorp​e (My Dying Bride) (Part 1)

By: zach.smith Posted in: featured, interviews, listen, lists On: Thursday, November 8th, 2012

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We’ve been lucky enough to have the likes of Shane Embury, Greg Mackintosh and Anders Nyström tell us about records that related in some way to each of their bands’ studio albums. This time around, Aaron Stainthorpe (that’s him on the far right) combed through My Dying Bride’s discography (including the quintet’s eleventh and latest, A Map Of All Our Failures) to tell us about a record he was listening to while writing/recording each one. As he described, “They have not necessarily influenced the sound of our recording, but they’ve made life in the music world very much worth living and I thank them all for that.”

You can read the first half of Aaron’s picks below while listening along here. We also streamed four songs from Map last month, which you can check out here.

As The Flower Withers (1992) :: Bathory’s Under The Sign Of The Black Mark
This was their third album and a masterpiece, in my opinion, of extreme music. As black as hell and as mean as strangling puppies, it took hold of me and has virtually never been off my playlist since! A bloody classic!

Turn Loose The Swans (1993) :: Celtic Frost’s Into The Pandemonium
With a crossover of gothic/doom and death metal as well as swathes of the avant-garde, the Swiss trio wasn’t afraid to break with tradition on this opus, going against all popular music at the time. It was a huge hit with fans of all things dark.

The Angel And The Dark River (1995) :: Dead Can Dance’s The Serpent’s Egg
I’ve loved this outfit for years and this is still the all-time best for me. It has all the elements you’d expect from them all wrapped up in one very neat bundle. If you don’t own this LP, you have not properly understood music!

Like Gods Of The Sun (1996) :: Candlemass’s Nightfall
THE greatest doom LP of all time. A classic and without doubt an influence on me both musically and personally and with hand on heart I can admit that I don’t think My Dying Bride would be here today if this record didn’t exist!

34.788%…Complete (1998) :: Swans’ White Light From The Mouth Of Infinity
It’s abstract, noisy, weird and beautiful and I love it to death. Gira has an amazing voice and his provocative delivery and twisted lyrics blend perfectly with the layers of cascading music that make up such a passionate LP.

*Stay tuned for the second half of Aaron’s picks next week!

**Order a copy of A Map Of All Our Failures here.

***We update one Spotify playlist for each new Decibrity entry, so feel free to subscribe to that here. Past entries include:

Early Graves
All That Remains
Bison B.C.
A Life Once Lost
Fight Amp
Witchcraft (Ola Henriksson) (Magnus Pelander)
Vision of Disorder
Grave
Anders Nyström (Katatonia) (Part 1) (Part 2)
“Best of” Rush (Part 1) (Part 2)
Dawnbringer
Ufomammut
Shadows Fall
Horseback
Greg Mackintosh (Paradise Lost) (Part 1) (Part 2)
Torche
“Best of” Meshuggah
Astra
Pallbearer
Barren Earth
Shane Embury (Napalm Death) (Part 1) (Part 2)

v.03/170 (Farsot) interviewed

By: Chris D. Posted in: featured, interviews On: Wednesday, November 7th, 2012

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How instrumental was the faux-documentary/film The Hellstrom Chronicle to the making of Insects?
v.03/170: The film wasn’t that essential on our musical concept, but it surely influenced the overall lyrical concept on Insects. Its abysmal mood and the menacing close-ups of actually small creatures give a special kind of impression which helped to form pictures in mind about a matter which is relatively unusual reason for a threat. But threatening is fear and can release existential fears. And this is essential for our lyrics and music at all.

Was Insects first framed with music or did the lyrical direction come first? Curious which informed which as it pertains to the album.
v.03/170: For Insects we started—in difference to IIII—with writing the music. But in early process we started to develop a thematic carpet, to have a hint what the music should sound like. We intended to get some apocalyptic atmosphere, which could be combined with different lyrical themes. The one it finally became rose, out of the nearly finished instrumental structures.

I think Insects is a massive improvement over IIII. It’s more nuanced. The music has impact. Did you seek to improve or was it evolution of skill taking place?
v.03/170: Well, that’s not that easy to say. As a musician you will always try to improve your skills. But it’s not just about forthcoming in handling your instrument, but also the further development of mind. So during the writing process of Insects our musical taste has widen a lot which is a huge influence on everyone’s contribution to this album. So mental evolution is what makes us go ahead. Everything else would be stagnation.

The riffs on Insects are massive. It’s sort of the perfect storm of cool/different riffs, the right tones, and riff placement. I gather special attention was made to riffs, guitar tones, and dynamics.
v.03/170: Do you play the guitar yourself? [Laughs] Everyone who talked to us noticed different advancements. Be it drums, bass, vocals or even guitars. So, I suppose with a closer look on each instrument itself you will see that there was an overall improvement of every single part and in unity of course. The band itself got stronger by growing together.

How important are theme repetition, contrast, and control to Farsot’s music making?
v.03/170: The elements you mention are all essential for our music. The squeamish application and aimed placement are an indispensable part of our tracks. The weighting is more intuitive than calculated, but at all each of those elements needs the other ones to unfurl its full effect. Just for example: with a silence before, a loud part seems much louder.

I feel like Insects is near-perfectly edited. Was there a lot of trim work during the compositional phase?
v.03/170: It has more than one cause that the successor of IIII needed about four years to be released. We’re very self-critical about our work and just want to release an album when we’re really convinced about it. So, there’s a permanent reviewing of the songs, we’ve tested many of them live-suitability before recording and that includes a permanent reviewing and changing of structures or even the trim work you mentioned. So, the short and only answer can be: Yes!

I really like how the album progresses as a collection of songs. It can (and should) be experienced as a whole or as individual songs. “The Vermilion Trail”, “Empyrean”, and “Like Flakes of Rust” could be representative of Insects as standalone tracks. Can you comment on album progression and individual song diversity?
v.03/170: Our first thought when writing an album is the flow of all songs and some kind of continuous thread running through. But this time, different to its predecessor, the songs of Insects weren’t meant as a single song with some splitting markers between. Each song should stand for itself and should have a unique character, a different musical proposition, but at the end when listened to in combination the borders should melt and the album should be recognized as a unit.

I hear a lot of Mayhem (vocals) and Enslaved (rhythms, chord progressions) on Insects. Were certain songs meant to play homage to the Norwegians or happy accidents? I’m referring directly to “Perdition” and “Empyrean”, respectively.
v.03/170: It’s a big compliment to be compared with such great artists like Mayhem and Enslaved, but the parallels happened more or less by chance. We won’t ever deny the influence those artists had to our musical taste and maybe also into our play itself, but we’re no cover band and also don’t try to copy riffs or even complete passages consciously. But if during writing process of a song some part sounds like being in the veins of some greater act and fits perfectly to our concept, we surely won’t force avoiding the parallels. We will more try to give it a suit which fits to our sound.

Two of the album’s standout tracks are instrumentals: “7” and “Somnolent”. Are they meant to be eyes of the storm, so to speak? “7”, in particular, is wonderfully tranquil, which, in many respects, is opposed to the caustic approach of its direct neighbors.
v.03/170: There’re many ways to interpret the meaning of those instrumental parts. The one you speak about is just one. Stay open for more possibilities—maybe in the context of the lyrics… Who knows?

The ending to “The Vermilion Trail” is brilliant. The theme/riff repetition/alternating percussive patterns, the Hellstrom narration clip and then the bass-heavy noise coda have an apocalyptic aura to them. That you segue “The Vermilion Trail” into the monolithic front-piece to “Withdrawl” is goddamn icing on the sonic cake.
v.03/170: Well… Thanks. The end of “The Vermilion Trail” used to be completely different to what it’s now. It was one of the first tracks that was completed, but the end was always an unloved child, which we were never really happy about. It had some ‘Satyriconesque’ riffing and wouldn’t fit to the rest of the album. But we recorded it on our first studio sessions. When we came back to finish the recordings, we told the engineer to throw away the end and we played a loop of the rocking part instead and gave him the droning samples, etc. He looked at us with huge eyes and asked us if we were really sure about that. What you tell us here shows up. That it was the right decision.

What do you want people to take away from listening to Insects?
v.03/170: At first, we want everybody to take a time-out from life, daily routine and thoughts. Man shall realize that there’s different things than just hurrying from one date to the next. One should take time to dive into a deep complex matter, which doesn’t just have to consist in material ways. On the other hand he should always be aware of thinking to be the main species on this planet. There’s always something that’s bigger and mightier than oneself. That’s not to [be] interpreted in some religious or spiritual way.

A friend of mine commented on the production. Actually, how great it is. It’s warm, dense, yet there’s a surprising amount of clarity. Compared to IIII, it’s is huge step forward. What went into the recording, mixing, and mastering? Did you have “example” recordings for reference points?
v.03/170: You may understand this as a caesura to IIII, whose production was cold and clear with a kind of mystical density. We’ve gone a step away from the black metal typical type of sound, so in music as well as in the way to represent it. We had a clear view in mind to keep it dry and direct, no distant instruments or vocals—a more intimate atmosphere, but still with the ability to lose oneself within the music. There were no examples at all, but we knew the previous works of our engineer, Markus Stock, and with a bit of own experience in recording we got a result which we’re pleased with.

It seems like Farsot thrives on minimalism. From the obscure band photos to the sparse text inside IIII and Insects is the band more from the ‘music do the talking’ school or is it a reaction to the overabundance of hyperbole in metal? Black metal, in particular.
v.03/170: Maybe it’s a bit of both. We want that people first listen to music. We want to show them, that individuals don’t count in our band, but the band at all as a unit. We never dealt with signs, cliches, big meanings or occult spiritualism. We leave that up to others, who are really in that matter. We’re definitely too reasonable for such themes.

It’s my personal opinion that while Farsot borrows elements of forebears—some more noticeable than others—you’ve crafted the quintessential black metal album. Maybe the most important black metal album in the last 10 years. It pretends nothing. Rather, it portends only what the listener is able to conjure during and after exposure. That’s dastardly evil, right there.
v.03/170: Thanks a lot. I suppose, it’s not a secret but almost forgotten, that there’s much power in imagination which we unlearn to use more and more. Watching a movie presents us everything clear to screen, but reading a book can build worlds in your head and lets you forget that there are letters. Maybe that’s a step back which we shouldn’t miss to take—whether in the world of written word neither in music. Just trying to leave the mind blank that there’s room for recreation.

** Visit and like Farsot on Facebook.

STREAMING: Troubled Horse: “Another Man’s Name”

By: adem Posted in: featured, heavy tuesdays, listen On: Tuesday, November 6th, 2012

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We offer this as more of a geographic reference than a musical one, but if you’re curious about the origins of Troubled Horse, you need look no further than the the same Swedish town, Orebro, that spawned both Graveyard and Witchcraft, who coincidentally have new albums just out or on the way. The Witchcraft connection actually is even a little more pertinent as Troubled Horse features three members of the original Witchraft line-up, one of which (bassist Ola Henriksson) is still a current member.

But Troubled Horse is its own beast, so to speak. Like the above-mentioned acts, there is a heavy retro vibe to the band’s Metal Blade/Rise Above debut, Step Inside, which is slated for a November 19 release. However, while they may share a member with Witchcraft, their musical aesthetic is more akin to the garage-rock and ’70s-inspired hard rock stylings of Graveyard. Influences-wise we’re talking the early stuff like Pentagram, Sir Lord Baltimore, MC5 or Dust. It’s all about nonstop grooves, bluesy riffs and a frantic rhythm section. Nicke Anderssson probably loves this band.

And so do we, though as far as extremely extreme music goes, Troubled Horse are on the less extreme end of the spectrum. But, man, do they have great songs. Step Inside is loaded with track after track of classic-sounding hard rock, each with a killer chorus. Case in point, is this dandy little number, “Another Mans Name,” which we are premiering for you today.

You can hear another track, the first single, “One Step Closer to My Grave,” and also pre-order Step Inside here.

Look What I Did…In Prison

By: Shawn Macomber Posted in: featured, listen On: Tuesday, November 6th, 2012

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The long-awaited follow-up to Look What I Did’s fantastic 2010 everything-and-the-kitchen-sink kaleidoscope of smart-as-fuck chaos metal Atlas Drugged is nearly upon us and if the below exclusive stream from the larger “epic rock opera” entitled Zanzibar III is any indication these Nashville boys continue to raise virtually every aspect of their game — musical, lyrical conceptual. And that truly is saying something.

“In this episode-slash-song, the protagonist of the opera, the centaur Sebastian, is locked away in Zanzibar’s jail, plotting his escape,” vocalist Barry Donegan says. “We have recently made arrangements with an indie label to release Zanzibar III on vinyl. Expect specific release details in the coming weeks.

A more in-depth explanation of the track is available here. Friend these dudes on Facebook and check out some of their hot video accompaniment over at YouTube.

EXCLUSIVE STREAM | Maveth “Hymn to Azael”

By: jonathan.horsley Posted in: featured, listen On: Monday, November 5th, 2012

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According to those gentle, God-fearin’ souls at Studylight.org, Maveth—transliterated from Old Testament Hebrew and translated into English—is defined as: “death, dying, Death (personified), realm of the dead; death; death by violence (as a penalty); state of death, place of death” . . . And my, how that is apt, because Finland’s Maveth are pretty much the epitome of death metal.

That’s a bold claim, but don’t just take our word for it. Thanks to Dark Descent Records, you can judge for yourselves, just click below to preview the faith-warping “Hymn to Azael”, taken from and typical of the zero-light death metal found on Finn’s forthcoming debut album, Coils of the Black Earth. It is a head-spinning, disorientating, bleak, monochrome, sulfurous anti-hymn; the sort of track you’d demand of a band fronted by a dude who calls himself Christbutcher and plays old-school death metal in the Stockholmer-esque Cryptborn, too.

Coils of the Back Earth is released right in middle of Advent, December 15th, presumably in an attempt to spoil the mood in the run-up to Jesus’ birthday; but come on, let’s enter into the spirit of things: it’ll make the ideal Christmas gift for the death-head in your family. It’s available on black or splattered vinyl, and CD. It’s kind of a bummer that it didn’t come out sooner—like Incantation’s similarly blasphemous and awesome Vanquish in Vengeance, Coils of the Black Earth runs the risk of missing out on Album of the Year Lists, etc. when it should be trumpeted from on high as one of the most exciting death metal debuts of this or any other year.

Coils . . . is old-school, kinda echoing the sort of atmosphere that fellow Finns Demigod made a career of. But it’s more than just an hour-long throwback to 1992. Some have described Maveth as blackened death metal, and those of you familiar with Of Serpent and Shadow or and Impious Servant might agree. You can check out a few mp3s here.

You can (should) pre-order Coils of the Black Earth HERE. Whether you hear them as blackened-death, straight-up old-school death metal or whatever, Maveth are 100% guaranteed to repel carol singers, Mariah Carey, and all that miscellaneous goodwill to all men bullshit that makes the Holiday season such a drag.

Maveth on Facebook
Dark Descent Records

Coils of the Black Earth cover art by Daniel Desecrator

Subscribe to Decibel for the Exclusive AGORAPHOBIC NOSEBLEED Flexi Disc!

By: mr ed Posted in: featured, flexi disc On: Monday, November 5th, 2012

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Last year, we waged war on Christmas with possibly our most infamous flexi disc to date: Agoraphobic Nosebleed‘s 11-tracks-in-four-minutes Make a Joyful Noise. Well, the unkind grinders are back to stuff your frozen corpse with even more holiday cheer! For their second-annual Decibel holiday flexi, ANb have concentrated all their good tidings into one epic, brand new wood-chipping blast: future caroling classic “Merry Chrysrmeth.”

Arriving on festive green-on-white plastic and featuring the demented talents of Scott Hull (Pig Destroyer), Richard Johnson (Drugs of Faith), Katherine Katz (ex-Salome) and Jay Randall, “Merry Chrystmeth” will be available exclusively to subscribers. So, ensure that your subscription begins with Santa’s wrath by signing up before 9 a.m. EST this Wednesday. Strictly for the naughty; nice need not apply.

STREAMING: General Surgery “Like An Ever Flying Limb”

By: Chris D. Posted in: featured, listen On: Monday, November 5th, 2012

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The quote, “This is a good place to start where we left off”, seems appropriate for death metal outfit General Surgery. The first new material since 2009′s Corpus In Extremis: Analysing Necrocriticism effort, Like An Ever Flying Limb—yes, that’s a nod to Hall of Famers Dismember—follows in the gory, early Carcass-like footsteps of General Surgery’s previous output, and there’s little to complain about.

Sure, we are still stump deep in the group’s recent “binders full of death metal and goregrind” in the shape of A Collection of Deprivation, but new material from the Swedes is always welcome, especially considering they’re not the most prolific outfit to come out of land of ice and snus. So, with five tracks spanning a total of 11 blood-splattering minutes Like An Ever Flying Limb is naturally comfy on an old-school gatefold 7″ davenport (1000 copies on orange; 100 on clear) not housed on some silly polycarbonate plastic disc. Sorry, CD folks. Unless Relapse Records is fucking with us, which is entirely possible given their history of chicanery.

OK, time to dial up the desktop speakers and drown your daytime worries to General Surgery. Oh, and one more thing. Like General Surgery on Facebook. They actually post stuff.

** General Surgery’s Like An Ever Flying Limb is a kick-ass 7″ that’s available 11/7/2012 through Relapse Records. It’s orderable HERE. Or, you can see what that Carcass after-project, Blackstar, was like. The former is the better option.