Tag Archives: Blood Harvest

Triumvir Foul – Triumvir Foul

Triumvir Foul - Triumvir Foul

Triumvir Foul [USA]
Triumvir Foul
2016
Full Length
Blood Harvest
Black/Death Metal

Triumvir Foul‘s debut offering last year in the form of their demo An Oath of Blood and Fire couldn’t come at a worse time, with my interest in the black/death metal genre, in particularly the barbaric, filthy style declining rapidly. For some reason though, their self-titled full length this year held certain promise, and listening to the 42 minute onslaught on Triumvir Foul, it would have been a mistake to give this release a miss as well.

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Album Review: Bombs of Hades – Carnivores

Bombs of Hades - Carnivore

Bombs of Hades [Sweden]
Carnivores
2008/2013 (reissue)
EP
Blood Harvest
Death Metal

Bombs of Hades‘ third full length effort last year The Serpent’s Redemption was certainly one of my favourite new Swedish death metal releases of the year, with the band managing to infuse that heavy punkish vibe into their music resulting in a high energy, high octane release. This year, Blood Harvest reissues the band’s first ever EP release, Carnivores, and from here one finally gets to listen to some of the earliest materials recorded by the band.

Half expecting a full-on crusty attack, Bombs of Hades‘ first EP indeed surprised me, with opening track Necronomicus Kanth (The Hounds of Hell) kicking off with a piano instead of the gritty guitars, but just as one thinks that this is gonna be different from the style that the band has come to be known for, the first riffs of Soderback and Stalhammer hit the listener hard. Instead of the full on punkish and speed attack that the band presented on The Serpent’s Redemption, the band slowly warms things up, though there is not a single moment where one is really at ease with the hostile atmosphere that the band manages to set up.

Things really go into a high gear as soon as Twisted Decay kicks off, and that familiar d-beat attack quickly hits the listener without any mercy. Everything that the band does on Carnivores all reek of the classic Swedish death metal influence and hit home with the old school Swedish death metal fan, reminding one of the early days of Entombed and Grave, though with a much stronger punk vibe here in the veins of bands like Bastard Priest. Furthermore, each of the tracks are short and prevent overstaying their welcome, resulting in a release that is a mere 14-minute short, short and sweet.

Obviously, over the years and with releases like The Serpent’s Redemption, things have not slowed down for Bombs of Hades at all, and the band is indeed a rising force in old school Swedish death metal to look out for.

Bombs of Hades on the internet:
Official website
Facebook
MySpace
Blood Harvest

Album Review: Lucifericon – The Occult Waters

Lucifericon - The Occult Waters

Lucifericon [Netherlands]
The Occult Waters
2012/2013 (reissue)
EP
Independent/Blood Harvest Records (reissue)
Death Metal

While the Dutch have solidified their death metal style with bands like Pestilence and Asphyx being the hallmark of Dutch death metal, Lucifericon instead presents a rather different style of extremity with their debut EP, The Occult Waters. Originally released last year independently, the release has caught the ears of the excellent Blood Harvest, and ditching the rather cheesy original album artwork, Blood Harvest reissues The Occult Waters with a new artwork, yet retaining the feel and theme of the original.

Introductory track Infinituum sets a disturbing and heavy atmosphere for Lucifericon, leaving one in a state of unease that will continue for the rest of the release. I have to admit, things are at quite an anti-climax as The Temple of Lucifericon greets the listener after the climactic, rather high tension that the intro built with the mid-pace that Lucifericon goes at, but things escalate rather quickly. The heavily trem-picked riffs and thrashy speed that the band goes at brings in the Floridian death metal influences that the band has, with the riffing styles being rather reminiscent of early Morbid Angel.

The somewhat blackened touches that the band includes in their writing also helps to reinforce the entire atmosphere and mood of the album, and moments like these remind one of the Gene Palubicki projects like Perdition Temple and Apocalypse Command. Yet unlike the frantic lead guitar style that the aforementioned bands utilise, Lucifericon‘s solos are often tastefully included, with every intention being the reinforcement of the dark and heavy atmosphere on The Occult Waters, like on Moon Over Fading Statues, where an acoustic guitar is also used to reinforce the entire emotion that is on the track.

On The Occult WatersLucifericon fully displays their ability to go from fast and chaotic to slower and more melancholic moments, all the while not losing any of their intensity at all, making this a nice EP to draw all fans of death metal in.

Lucifericon on the internet:
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BandCamp
Blood Harvest

Album Review: Necroccultus – Solemnelohim, Bringer of Death

Necroccultus - Solemnelohim, Bringer of Death

Necroccultus [Mexico]
Solemnelohim, Bringer of Death
2013
EP
Blood Harvest
Death Metal

At the rate that Mexico is churning out excellent death metal bands these days with releases by bands like Zombiefication, one can almost be assured of the quality of the releases from the region. Necroccultus finally releases new material this year with their brand new EP, Solemnelohim, Bringer of Death after 5 long years since their last split release.

The old-school creed that Necroccultus swears by is quickly heard right from the start of the album. The crushing impact that the band hits the listener with on Dimensions of Ancient Necromancy and that slight doom pace that the band indulges in quickly reminds one of the style that bands like Incantation and later bands such as Ignivomous and the likes play in. The riffs of Nextor and Mauricio are crushing as fuck, and it certainly helps that Oscar punishes his kit without mercy as well, torturing the listener’s ears with the relentless onslaught that Necroccultus presents on Solemnelohim, Bringer of Death.

But obviously Necroccultus aren’t just another Incantation clone, as they bring in a whole host of old school death metal influences as well in their songwriting. The dirty sound of the band and that Incantation vibe at times brings about some Finnish death metal comparisons as well, not unlike bands such as Demilich, especially on songs like Aeons of Spectral Morbidity with the unpredictable riffing section at the intro of the track. The slight d-beat moments on The Equinox of Unburied Ones also bring in some Autopsy or early Swedish death metal moment. The heavy atmosphere that the band indulges the listener in also reminds one of bands like Grave Miasma, and this constantly oppressive feeling that the band emanates throughout the release is certainly one of the things that draws one to the craft of Necroccultus.

Necroccultus on the internet:
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Blood Harvest

Album Review: Backyard Mortuary – Lure of the Occult

Backyard Mortuary - Lure of the Occult

Backyard Mortuary [Australia]
Lure of the Occult
2012
Full Length
Blood Harvest
Death Metal

Yet another excellent band out of Australia, Backyard Mortuary has been honing their death metal craft since 2002, and over the years their releases have been rather sporadic. Last year however saw the band finally releasing their debut full length album, Lure of the Occult, quickly catching attention of Blood Harvest, who will be releasing the album on wax this year.

The fittingly titled opening track, Last Rites, quickly helps to bring about a high tension atmosphere with the doomish pace and the crushing guitars of Dave and Stuart, reminding one of their compatriots such as Impetuous Ritual. But just as one expects this to be another one of those death/doom releases, the band suddenly goes into breakneck speed with Beyond the Grave. This isn’t to say that the experience is any less intense, as the band presents a rather strongly Incantation-inspired style, rather reminiscent of bands such as Dead Congregation and Grave Miasma with the filthy and heavy atmosphere, along with the alternating between trem-picked riffs and crushing, chugging riffs.

At the same time, there is also that slightly blackened touch in the band’s music like on Deprivation, and along with the echoey effects used on Chris’ vocals, I can’t help but draw comparisons with bands such as Antediluvian and Bestial Raids, not that there is anything worth complaining though. One thing that really caught my attention here are the lead guitars, which often provides some sort of damning, hopeless feel with the rather haunting melodies intertwined with the slight chaos on these solos.

As would already be evident, rather than providing a singular style of death metal, Backyard Mortuary manages to go into different styles, fusing them together seamlessly and flawlessly, from the crushing, doomish style of Incantation to faster, more thrash-paced Floridian style of bands such as Morbid Angel and the likes. The riffing style on longer tracks such as Mutation and Demons Blood at times even brings in some old school Swedish death metal touch, with Mutation even bringing in some slight Slayer-inspired riffing patterns.

With the saturation of the genre these days, it is really hard to come up with something really innovative, and Lure of the Occult obviously does not seek to bring about any innovation in terms of sound. Yet with the huge amount of old school influences that have been put in place in the album, Backyard Mortuary certainly knows what they are doing, and their debut, though having taken such a long time since their formation, is well-worth the wait, and is an old-school death metal crowd pleaser.

Backyard Mortuary on the internet:
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Blood Harvest

Album Review: Burialkult – A Call from Beyond the Grave

Burialkult - A Call from Beyond the Grave

Burialkult [Canada]
A Call from Beyond the Grave
2013
Full Length
Blood Harvest
Black Metal

Canadian black metal band Burialkult this year finally releases their debut full length album, A Call from Beyond the Grave, a short year after their excellent EP Evil Antichrist Hordes, which showcased their barbaric and bestial form of black metal, true to their Canadian roots.

Yet A Call from Beyond the Grave sees the band have a higher sense of theatrics, with the ominous introductory track Hossana in the Depths, with the sounds of church organs easily causing the uninitiated to mistake this as yet another Ghost wannabe or something. But things turn ugly as soon as the first riffs of By Satan Possessed hit the listener’s eardrums, and one is treated to some nice, bestial black metal. The bleak and cold atmosphere that hits the listener display the band’s early black metal influences rather clearly, and one is reminded of bands such as Mayhem and the likes, though the rather heavy atmosphere at times bring about a Finnish reminder such as Satanic Warmaster, just much more chaotic. The strong bass presence, and the trance-inducing riffs on songs like Eternal Satan even brings about some Marduk similarities.

But the true beauty of A Call from Beyond the Grave lies in the bestial roots of the band, and they certainly manage to display that on this release. The slight death metal and thrashy edge that are incorporated on songs like Blasphemous Infuneral certainly remind one bands such as ConquerorImpiety‘s Skullfucking-era and Italian maniacs Blasphemophagher with things like the chaotic lead guitars and that overal dangerous and sinister feel that the band emanates.

The raw and filthy production quality of the album also adds to the overall charm of the album, sounding true to the early 90s production style, and further accentuating the chaos that is on the record. With the variety of influences that the band has put into this record, Burialkult‘s debut is one that will definitely please fans of any forms of black metal, from the pioneering second-wave style to the more barbaric Canadian style.

Burialkult on the internet:
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Blood Harvest

Album Review: Poisonous – Perdition’s Den

Poisonous [Brazil]
Perdition’s Den
2010/2012 (Reissue)
Full Length
Blood Harvest/Metalhit.com (Reissue)
Death Metal

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Originally released in 2010 under Blood Harvest, this year sees Brazilian old school death metal horde Poisonous‘ debut full length album, Perdition’s Den being re-issued under the digital record label, Metalhit.com. With Brazilian metal being pioneered by bands like Sarcofago and Sepultura, one would almost expect Perdition’s Den to sound like the thrash-tinged death metal that Brazilian bands have crafted over the years.

But the heavy and crushing riffs that are present on Perdition’s Den reek heavily of Incantation-worship, and this made even more so with the at times intentionally sloppy-sounding drumming of Alex, though he proves his capabilities throughout the album later. The dark and evil atmosphere and the heaviness in the music, made even more intense with the low rumbling growls of the bass of Evil, results in the listener at times feeling oppressed and suffocated. The vocals of Michael further tops the experience up with the monstrous growls, and combined with the riffs that are unleashed, reminding listeners of bands such as Impetuous Ritual, alternating between heavy palm-muted and trem-picked sections.

The focus on Perdition’s Den seems to be on the heaviness in the music rather than speed, as there are rather few extremely fast moments with the album progressing at a mid-pace for the most part of the album, while crushing riff after crushing riff is presented to the listener, with the band not giving much time for the listener to recover from previous onslaughts before presenting the next punishing section. Poisonous also does not shy away from including elements such as keyboards to reinforce the ominous atmosphere already present in the music, as these appear from time to time throughout the album, such as on the tracks Demons and Horror Instinct. The spoken vocals that are layered over the keys also provide a nice touch, further sending chills down one’s back.

As a tribute to the founding fathers of Brazilian extreme metal, the band has also included a cover of Sarcofago‘s The Black Vomit, giving a nice heavy, crushing death metal makeover to the track. Overall, Perdition’s Den is a nice blasphemous, old school death metal album and would certainly appeal to fans of bands such as Incantation.

Poisonous on the internet:
MySpace
Blood Harvest
Metalhit.com

©2012 Heavy Metal Tribune | Hong Rui

Album Review: Bastard Priest – Ghouls of the Endless Night

Bastard Priest [Sweden]
Ghouls of the Endless Night
2011
Full Length
Pulverised Records (CD)/Blood Harvest Records (LP)
Death Metal

Swedish death metal has started to bore me a little, with many new releases undoubtedly sounding extremely good but largely make use of the same formula over and over again. Pulverised Records has surprised fans though, first with the release of Bastard Priest‘s debut full length, Under the Hammer of Destruction, followed by  bands such as Morbus Chron, bringing some hope and some fresh air to the already over-saturated Swedish death metal scene.

Ghouls of the Endless Night is the follow up to Bastard Priest‘s 2010 Under the Hammer of Destruction, and one look at the band’s photos one is forgiven if he mistakes the band for a hardcore punk band, as this is certainly one of the big influences of the band, as will be shown on the music of Ghouls of the Endless Night. Recent releases like EntrailsThe Tomb Awaits has displayed the hallmark of more modern Swedish-styled death metal, but Bastard Priest breaks down all such impressions as Ghouls of the Endless Night displays right from the start with Pestilent Force. The raw energy in the music and the production of the music immediately displays the band’s hardcore-punk influence, complete with the d-beats of drummer Matt. The usage of cowbells at times also provides a somewhat quirky moment, yet an interesting touch to the music. The vocals on the album is a throaty growl, but the vile way that the lyrics are spit out with hate make Ghouls of the Endless Night all the more powerful.

The riffs on the album also lean towards an almost hardcore punk side. Simple as they are, these certainly achieve their aim and goal of displaying the energy that is contained within guitarist Inventor, backed by the explosive drumming style of Matt. The guitar tone and playing style of Inventor are reminiscent of fellow countrymen Morbus Chron, with the high and trebly presence in the mix, especially on tracks like Ghouls of the Endless Night. Inventor also displays his ingenuity in writing his riffs, referring to influences in a subtle manner, such as on the riffs on Last Scream, which reminds listeners of those from Blasphemy‘s Ritual (or maybe it’s just me hallucinating). The haunting lead guitar line on Enter Eternal Nightmare even reminds listeners of bands like Acid Witch. Moments like the intro to title track, Ghouls of the Endless Night make use of what Bloodbath calls the “Stockholm beat”, and helps to give the music a heavily Swedish flavour, bringing some familiarity to fans of more recent Swedish death metal bands like the aforementioned Bloodbath. Slower songs on the album such as the track Poison infuses some dark moments to the listening experience as well.

The songs on the album, while not particularly short, manage to retain the listener’s attention with the infectious energy and the grooves in the riffs that are unleashed. Listening to what Bastard Priest has put out in recent years though, has certainly given me some hope and reignited the love for Swedish death metal, and suffice to say, Ghouls of the Endless Night is a must-have for all fans of old school Swedish death metal.

Bastard Priest on the internet:
Official website
Facebook
MySpace
Pulverised Records
Blood Harvest Records

©2012 Heavy Metal Tribune | Hong Rui

Album Review: Lvcifyre – The Calling Depths

Lvcifyre [UK]
The Calling Depths
2011
Full Length
Blood Harvest Records (LP)/Pulverised Records (CD)
Death Metal

Receiving new death metal albums these days often leave me disappointed or expectant, with most new releases either leaning towards the Swedish death metal style, or Incantation-styled OSDM. Hence, receiving and listening to UK band Lvcifyre‘s debut full length album, The Calling Depths certainly brings in a breath of fresh air.

What is present here is fundamentally Immolation-inspired death metal, only put to a heavier mode. Throughout the album, on top of the usual heavy riffing of the guitars, the drums of Menthor seem to be one of the driving force of the band, with most tracks seeing him punishing his snare drum without any mercy, pounding on them with every last bit of his energy. The guitar tone is heavy, and guitarist T. Kaos alternate between furiously trem-picked riffs and heavy chugging segments, as evident from tracks like Holy Chaos. T. Kaos also doubles as vocalist of the band, and his style is reminiscent of the Polish death metal style, bringing to mind vocalists of bands like Behemoth and Vader, yet with a more chaotic and frantic instrumental section backing him up.

The band also utilise softer and slower segments of the album to build up the tension in the air, such as on the introductory riffs of Death’s Magnetic Sleep, where clean guitars suddenly give way to full-blown chaos. Guitar solos on the album are also another unique point, soaring above the gruff tone of the rhythm guitars beneath, ensuring that they get the attention that they deserve. These solos also help in putting a sense of unease into the listener, with the uncertain direction that they are going, such as those on Death’s Magnetic Sleep, wailing aimlessly like a wandering ghost, and even the outro lead guitars leave a lingering, haunting presence. The more furious tracks like Husk of Impurity also bring to mind bands that play death metal in the Polish style such as Crown ov Horns, with the ferocity present in the track.

It is almost amazing how big a band comprising only 2 members can sound. Fuck, the band doesn’t even need a bassist, for that matter, to prove their worth and heaviness, with 2 members being sufficient to bring about enough energy to decimate those in their path. The Calling Depths will certainly bring the jaded death metal listener something new (finally), without any compromise on the sincerity and sheer raw brutality in the music that modern death metal acts tend to lack as well.

Lvcifyre on the internet:
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MySpace
ReverbNation
Blood Harvest Records
Pulverised Records

©2011 Heavy Metal Tribune | Hong Rui

Album Review: Necrovorous – Funeral for the Sane

Necrovorous [Greece]
Funeral for the Sane
2011
Full Length
Blood Harvest Records (LP)/Pulverised Records (CD)
Death Metal
9.0/10

Hailing from Greece, Necrovorous joins the ranks of bands such as Dead Congregation in playing and paying homage to old school death metal. 6 years after their formation and numerous demo releases, the band finally releases their debut full length album Funeral for the Sane. What also caught my attention for Necrovorous is the involvement of A. Devilpig, also from Embrace of Thorns, one of the few Greek acts that has managed to really get me hooked.

Funeral for the Sane opens with Sanity’s Fall, an atmospheric track driven by synths, yet do not be fooled by this intro (like I was on first listen) into thinking that the album is going to be a pussy-black metal wannabe release. As the album starts off proper with Succubus Dormitory, the furiously trem-picked riffs remind listeners of death metal pioneers Incantation, down to the heavy and dark atmosphere present in the music. Even the vocals of A. Devilpig reminds listeners of the aforementioned Incantation‘s John McEntee, abrasive yet not to the point where the lyrics become totally undecipherable. The seemingly random insertions of shouts indeed test the sanity of the listener.

The influences from old school death metal bands do not simply end there. The crushing guitar tone and chugging riffs, backed by the rumbling bass of Tolis B. reminds listeners of fellow Greek countrymen Dead Congregation. The band also constantly breaks into slower and almost doom-paced segments such as at the end of The Flesh that Smiles and tracks like The Vilest of All Dreams, reminiscent of the dark style of death metal that bands such as Incantation has also helped to popularise. The frantic solo at the beginning of The Vilest of All Dreams, in addition to displaying the abilities of guitarist A. Devilpig, adds a nice touch to the overall feel of the music, further pushing the limits on the listener’s mind, enforcing the theme that has been set with the title of the album. However, not all sense of melody is lost as evident from the guitar solo on closing track, Dwellers of My Flesh. Necrovorous also does not shy away from using synths to enhance the atmosphere on the music, and the addition of synths is with good effect, reminding listeners of bands such as Vasaeleth.

The dark and at times haunting atmosphere certainly ensures that no one finishes listening to the record sane, making this fittingly, the Funeral for the Sane. What Necrovorous has created here might not be entirely original in its style, yet the extremely well execution of the music has certainly made this album sound like a classic in the making.

Necrovorous on the internet:
MySpace
Facebook
Blood Harvest Records
Pulverised Records

©2011 Heavy Metal Tribune | Hong Rui