Aborted - Necrotic Manifesto

 

Imagine a world where the dead walk the earth. The streets are splattered with blood and carnage litters the ground. Hell rose up and took over. The dead feed off the living, and the living feed off of the living. Humans only know murder and torture in this world. The world lay in waste, death and destruction keeping its abominable control over humanity while nature slowly rots.

 

That’s what old Aborted sounds like. Their new album Necrotic Manifesto sounds like the description above; just add some necrophilia, maybe a few nuclear bombs, lots of dead babies, and maybe some crazy guys eating their own feces. In short, this new album is much more that we love about Aborted. And that much more consists of destruction, brutality, insanity, and shit that will blow your mind.

 

One of the major differences between this album and older material is that Aborted discovers a whole new realm of brutality, refraining from their previous grind-y style and moving to a heavier and more versatile sound. This style I feel is influenced more from a combination between old school death metal and modern day technical death metal. This sound is embodied in the song The Extirpation Agenda where its vitality knocks you to the ground and the wrath of the intense soloing skullfucks you to the point of unconsciousness.

 

In a track like Chronicles of Detruncation you hear this influence in the rapid opening that transcends to a melodic chorus and finishes with a guitar solo and swift drumming. Purity of Perversion is a song where older Aborted and this new style are meshed perfectly. The aggression this track contains will hook you immediately. While you’re mesmerized the dexterous soloing creeps in, and punches you in the stomach. You’re left sore and bruised, but pretty goddamn stoked.

 

One main thing I noticed is that this album doesn’t have as many sound clips as their previous material did. The tracks from one of their older albums such as Engineering the Dead consisted primarily of tracks with sound clips; now this new one only has four songs with sound clips. Nonetheless, I would love to sit down and watch whatever these fucked up movies are that Aborted watches. Oh and Skinless can come, too.

 

I think Necrotic Manifesto is Aborted’s best album since The Archaic Abbatoir. Hell, I was thinking this album sounds like the fecal matter that would result from The Archaic Abbatoir eating Origin’s Antithesis; except it’s even more ruthless than that. In short, just get this album. I promise you that you’ll be shipped to a new dimension of rotting human remains and bloody carcasses.

 

http://theageofmetal.com/aborted-necrotic-manifesto-2014/

Allegaeon - Elements of the Infinite

 

In 2014 Allegaeon releases their new album Elements of the Infinite. From what I remember about math, sequences can either be finite or infinite. Allegaeon has proved they truly are infinite with this new album. They improved on their signature melodic style without losing who they are. I will admit there are some songs not as strong as others, but overall this album pretty much kicks ass.

 

When the album starts, you won’t be sure what’s going on. The first song Threshold of Perception starts off with an acoustic riff that transcends to an orchestral piece. Then a rapid riff joins in the operatic vocals and intense violins. Very shortly Allegaeon’s classic melodic sound comes into full swing. The rest of the song is full of twists and turns: thrashy riffs, heavy drumming, progressive melodies, and unique solos make up the core of this song.

 

When the album gets to the song Dyson Sphere, it gets pretty bland. The song in itself is interesting, but not one of my favorites. It’s pretty boring at first, the riffing is pretty repetitive and there aren’t any hooks to catch the listener. But the song drastically changes toward the middle, where one of the catchiest solos surprises the listener and gives the song much more flair. From then on the song gets gradually heavy and more technical; definitely a classic technique from Allegaeon!

 

One of the most enjoyable songs is 1.618. Beyond the fact that the video is absolutely hilarious, it has to be one of the catchiest death metal songs I’ve heard in a long time. It’s a headbanging extravaganza, yet it doesn’t lose its intricate edge. It is completely unpredictable; solos are coming at you from all directions and the deep vitality is unlike anything heard of in heavy music. By far one of the best songs Allegaeon ever wrote!

A song like Our Cosmic Casket is when the feel of the album becomes slow again. The riffing is pretty steady, and other than speed it doesn’t leave the listener hanging and guessing like some previous tracks did. There are a few pretty good solos on this song, but nothing jaw-dropping. Like with Dyson Sphere, I feel this song gets better toward the end; the difference of fast and slow riffing makes the song more exciting. But overall it is not one of my favorites on the album.

 

The rest of the album is the most singular part of the album. Biomech II is one of the songs with the most velocity. Its ferocious nature is appealing to any metal fan. I can see this song going over well played live! Through Ages of Ice – Otzi’s Curse, is an epic ride. It will transport you to a cold-blooded battle with dueling guitars, crushing drums and fatal solos. The song comes to an end with a war-like atmosphere filled with beating drums and stomping feet; a sacrifice waiting to happen.

 

The album’s conclusion is a thirteen-minute mammoth of a song. After the battle that occurred in the last song, Genocide for Praise – Vals for the Vitruvian Man embodies a victorious vibe. It starts off fluid and mellifluous; but peace only lasts so long before Allegaeon’s butchering sound comes back to destroy. This one song has everything perfect about Allegaeon: versatility, brutality, creativity and technicality. The albums comes to its end with a somber acoustic riff, leaving the listener guessing what will happen next in the Allegaeon fantasy tale.

 

The most astounding part about this album is the musicianship. Guitarists Greg Burgess and Mike Stancel battle it out with dexterous solos and insane riffing. This concurrence is the main factor in the excellence of this album. Bassist Corey Archuleta delivers some hard-hitting bass riffs. And drummer Brandon Park combines an unswerving technique with a vicious groove. These are the tools Allegaeon used to reinvent their sound.

 

It seems as though Allegaeon improves their sound with each album. They proved they’re the most powerful force in melodic death metal today. Though not every song on the album is perfect, this is by far one of the more impressive that they released. And I’m sure Allegaeon will continue to release even better albums in the future. But this one is still a tough one to top.

 

http://theageofmetal.com/allegaeon-elements-of-the-infinite-2014/

Belphegor - Conjuring the Dead

 

Belphegor’s most recent masterpiece will prove that they are more than another extreme metal band. Conjuring the Dead is both everything we know about Belphegor, and a Belphegor we’ve never seen yet. This album will persuade and amaze the listener, completely submitting themselves to the band that is the apex of everything unorthodox. With one listen, Belphegor will make the listener become aware of both the evils and the pleasures of the world.

 

Belphegor goes right into their annihilating yet seductive onslaught with the song Gasmask Terror. I’ve read in interviews that the dudes in Belphegor are very fond of gas masks. When used in BDSM/fetish sex, gas masks convey several meanings such as degradation and bondage since they allude to a sense of mystery. This song captures that exciting mood of a pleasurable enigma. You hear the dexterity in the rapid drumming; yet the guitar tone is low and the picking is melodic. Belphegor expertly opens the album with a track that only gives the listener a taste of the pleasure they will receive.

 

The next song is one of the most brutal on the album. The title track Conjuring the Dead lives up to its name. The song itself starts with a soundclip talking about a witch (need to find out what movie that’s from). But suddenly the song transforms into a powerful extravaganza of the most impressive riffing featured on the album. The overall tone is huge; it courses through your body, making you completely rabid. An atmospheric soft part cuts toward the end. Its result is a combination of the beautiful atmosphere with demolishing musicianship.

 

Rex Tremendae Majestatis is another track that stands out to me. The title is taken from Mozart’s Requiem, and if you’re familiar with the piece you know of both its power and solace. Belphegor’s analogous track contains those same elements such as the mellifluous riffing with the vitality of the drums.

The next song Black Winged Torment throws the listener off guard. This nefarious endeavor captures the demonic image Belphegor conveys perfectly. Everything is amplified: the riffing is more intricate, the drumming is provoking, and the track overall screams animosity (this analogy could be literal). This is the wrathful Belphegor the listener has been waiting for.

 

Legions of Destruction is my favorite song off of the album. They took a lot of skill to create a detonative track, yet the melodic parts are catchy to keep the listener coming back. The listener finally experiences the technicality of the guitars, especially in the solo around the middle of the song. Why is this my favorite song off of the album? Because I feel it’s the perfect Belphegor song.

 

The last song on the record is Pactum in Aeternam. “In Aeternam” means “forever” and “pactum” means “agreement.” This slow and atmospheric song leaves the listener in a trance. The listener then takes a stance with Belphegor; that the listener will be true to the band and will forever serve them. For everything Belphegor will ever do, they always have their army of listeners to fight alongside them.

 

Belphegor is the apostate band in metal for several reasons. They encompass all of the heretical qualities that metal is known for, but have their singular method to where they’re illimitable. They have that sensual brutality to where they tease the listener, slitting the knife slowly into the flesh one cut at a time to let the blood ooze. They perpetuate their individuality, and also take no prisoners. These are the reasons why Conjuring the Dead, and Belphegor as a whole, continues to prevail.

 

http://theageofmetal.com/belphegor-conjuring-the-dead-2014/

Fit for an Autopsy - Hellbound

 

Before I listened to Fit for an Autopsy’s newest release Hellbound, I kept hearing my brother and my friends talking about it saying how awesome it would be and how they can’t wait to buy it. Well I’m here to tell you that you should definitely give it a listen. This album exceeds over their 2011 release The Process of Human Extermination in both musicianship and potency. Every song will have you mindblown, but at the same time punching a hole through the wall. In short, it’s just really awesome.

 

This album starts off with Great Gift of the World. It fools you at first; starting with a slow riff and deliberate drumming, then gradually speeding up to the heavy goodness we know as Fit for an Autopsy. The next track is Still We Destroy, incorporating a keyboard intro before the insanity begins. This song is filled with a combination of rapid musicianship and a catchy feel. This song blends melodic composition and vigor perfectly.

 

Tremors is another unique track. Like Great Gift of the World, it starts off very slow and gradually picks up pace. But rather than sounding heavy, it goes above and beyond; spastic guitar riffs and an indescribable velocity define this track. The technicality increases with a track like There is Nothing Here Worth Keeping. The song goes from a progressive-style jam to a chuggy headbanging track.

 

This album is dramatically different from The Process of Human Extermination. In Hellbound, we really see the musicianship-side just as much as the heavy one. Guitarists Will Putney and Pat Sheridan make an awesome team by playing intricate riffs. Drummer Josean Orta is nothing short of impressive with his swift and intense drumming. This is also the first album released on their new label home, Good Fight/eOne Records. Overall, Hellbound is a much bigger improvement over The Process of Human Extermination and Fit for an Autopsy fans will be extremely pleased with this record.

 

Fit for an Autopsy’s new record is incredible. The crushing vibe and capricious feel is intoxicating. This is definitely the type of album that allowed Fit for an Autopsy to experiment with new horizons while pertaining to their classic hoarse sound. The fact that Fit for an Autopsy truly pulled this off makes this album even more impressive. What’s next for Fit for an Autopsy? They’re embarking on probably one of the most brutal tours of the year: Hate Across America Tour. They will be supporting Thy Art is Murder along with I Declare War, The Last Ten Seconds of Life and Kublai Khan. If that’s coming anywhere near you and you don’t come out, then you’re the kind of person that deserves to get stomped on in the pit.

 

http://theageofmetal.com/fit-for-an-autopsy-hellbound-2013/

Gorguts - Colored Sands

 

It’s been twelve years since Gorguts released an album. In 2001 they released From Wisdom to Hate, an experimental masterpiece with a sound unheard of in death metal. This year they released Colored Sands. With this album they took the experimental extremes even further, incorporating orchestral effects and melodic choruses into the chaos known as Gorguts. Out of all of the comebacks in music, this was in the most impressive by far.

 

Gorguts was always known to be eccentric and fierce, characteristics that allowed this band to stand out. They went over-the-top with these descriptions in Colored Sands. An example is the disorderly instrumentals featured in the track An Ocean of Wisdom. Forgotten Arrows is by far one of my favorite songs. This track itself is unpredictable. It will shift from insanity blasting from the speakers to slow riffing. Each second into this track makes you grip for more; it’s truly one of the more addictive on the record.

 

Enemies of Compassion is one of the more heavier ones. The opening guitars itself sound evil; the spastic composition that ensues as the song plays makes this track truly heinous. Absconders is noteworthy for its ability to venture outside of the realms of a death metal song, and the beauty of its disparity will leave you breathless. Above all, Gorguts devised a record that’s remarkable in the sense that it pushes boundaries and leaves the listener begging for more.

 

Out of all of the major comebacks, Gorguts is the best. With Colored Sands, they proved they will always be one of the most notorious bands in death metal. The brilliance that is Colored Sands is one that’s unexpected, yet it’s expected that Gorguts will create nothing less than an outstanding album. Some people will say that Gorguts has improved. I think with their releases from 1991 to 2001, they were just getting started. Big things are going to come for Gorguts, and this is the Gorguts that will prove to be completely flawless.

 

http://theageofmetal.com/gorguts-colored-sands-2013/

Immolation - Kingdom of Conspiracy

 

This year, Immolation releases their newest full-length, Kingdom of Conspiracy. This band is a death metal colossus. They stand as one of the most influential bands, and this album is nothing short of their legacy. This band has been smart about their progression; their composition hasn’t changed much, but they have become more mature with their songwriting. This more dynamic Immolation continues to break barriers in music, with this album as proof.

 

The album starts with pure brutality. The opening track “Kingdom of Conspiracy” begins with a heavy riff and vulgar lows from guitarist and vocalist Ross Dolan. One as the qualities about Immolation’s music that I and other Immolation fans have always loved is the distinctive style of guitarists Robert Vigna and Dolan. Their wailing techniques in their solos are individualistic; they contain traits that are complex yet catchy. My favorite riff on the album is the continuous riff in the song “Keep the Silence.” The wailing guitar chord mixed with the double bass is irresistible. This band matured drastically since their formation in the late eighties, specifically with their lyricism. Originally writing about anti-religion in their songs, they changed to a more political theme when writing lyrics. But overall, Immolation has kept their attitude about releasing heavy music.

 

Immolation fans, old and new, will appreciate this new album. The tracks contain the same amount energy and technicality as their older material. It’s refreshing to see these bands still continue to write and tour. I’m a death metal fan of the old and new, and you can really tell the bands that are passionate about the metal industry. Immolation still remains one of the most ruthless acts in death metal history. Kingdom of Conspiracy is another trophy standing on the shelf for this band.

 

http://theageofmetal.com/immolation-kingdom-of-conspiracy-2013/

Septicflesh - Titan

 

Septicflesh’s new masterpiece is a ruthless yet mellifluous movement. With a name like Titan, Septicflesh fans immediately expected some of the best work Septicflesh could ever create. Since “titan” is a fancy word for “giant,” I feel Septicflesh met expectations. This sound is the biggest thing Septicflesh ever invented; they intensified the orchestrations and the savagery of their sound, making this a vivid rhapsody.

 

Every song is heart-pounding; shivers will course through your spine and horrid images will appear in your head. The Order of Dracul is one of my favorites because it takes classic Baroque-era stylings, but is given a brutal Septicflesh twist. This unpredictable morbid escapade will definitely throw the listener off guard.

Right next to Esoptron, my favorite Septicflesh album has always been The Great Mass. A song like Prototype is one that reminds me most of The Great Mass days – with heavy riffing mixed with operatic vocals. This combination is one Septicflesh is famous for – and does best.

 

A song I would love to see live is Dogma. The combination of rapid drumming, rough picking and blaring trumpets would be a breathtaking performance to watch. This song is a perfect example of the more intense and symphonic direction Septicflesh. You will feel every part of this song in you; it glides in your veins and the energy overtakes you.

 

The next song, Prometheus, is a little slower. The emphasis on the orchestral aspect is exemplified. It is a nice break from the frightful nature the previous songs had. The beauty of this song stands out like nothing you heard before on this album. The heaviness is still present, but rather mixes with the blissful vibe of the melodic overlays.

 

Confessions of a Serial Killer is the most unique track on the album. The effects used are chilling; like you truly are inside of the head of a psychopath. The tempo changes drastically throughout the song, throwing the listener off edge. Yet the beatific style of the symphonics makes the listener sympathize with the killer.

 

This is by far Septicflesh’s most impressive work in a long time. All Septicflesh fans will be pleased with this album. I will say the album is best to listen to straight through, though you do pick your favorite songs. Overall, Septicflesh defeats all other metal bands that uphold a powerful and symphonic sound. Nothing can beat the ornate destruction of Septicflesh.

 

http://theageofmetal.com/septicflesh-titan-2014/

Toxic Holocaust - Chemistry of Consciousness

 

Toxic Holocaust quickly became a legendary band in the thrash metal underground. Unlike their modern-day thrash counterparts, Toxic Holocaust took it one step further: fusing the rapid punk style with the ruthless metal feel. This is a band that stands out, yet obtains a sound that is tasteful and unique. On October 29, Toxic Holocaust will release their fifth studio album Chemistry of Consciousness. Out of all of their albums, this one focuses more on the punk-influences, resulting in their most pounding and fastest release yet.

 

You really hear the mesh of punk in metal in a track like Rat Eater. The beginning of the song consists of a melodic chord, then going into an exhilarating punk-infused track with fast riffs and rough vocals. Salvation is Waiting is by far the most aggressive track on the album. The riffing in this song is ruthless, the drumming is nefarious and it’s filled with several energetic parts that make you want to mosh. The single that was released is Out of the Fire, which is the most catchy and powerful song on the album.

 

The theme of the album has to do with how the brain reacts to hallucinogens. Because of this, one of the tracks that stood out to me was Mkultra. Not being familiar with the term, I looked it up. Pronounced like MK-Ultra, it was a study led by chemist Sidney Gottlieb who in 1999 gave LSD to several unknowing participants. One committed suicide; the rest apparently suffered permanent psychological damage. I remember main-man Joel Grind mentioning this in my interview with him. As far as the song goes, it’s a chant-y track full of vigor and ruthlessness.

 

Chemistry of Consciousness is the most vigorous album released this year. Each velocity-induced and relentless track will enter your brain and cause pure insanity. The lyrical theme of drug-filled dementia intertwines flawlessly with the vitality of the music. Toxic Holocaust will be touring North America starting on October 31. If they’re going anywhere near you, be prepared to rage.

 

http://theageofmetal.com/toxic-holocaust-chemistry-of-consciousness-2013/

Carach Angren sure does have a way of telling a story. Their newest release This is No Fairy Tale captures the supposed innocent nature of fairy tales and twists it in ways that are just cruel. In short, they released the rabbit and you follow it down the rabbit-hole, only to fall upon a world of poisonous defilement. I suggest you all join Carach Angren on this endeavor.

The first track to this contemptuous adventure is Once Upon a Time. This is a brief, rapturous track without words. This is supposed to describe the setting and the introduction, which needs no words. Carach Angren enters the listener into a world that has no limits. This is where their story takes place.

 

Carach Angren then tricks the listener amidst the beauty with the next two songs, There’s No Place like Home and When Crows Tick on Windows. This vicious story truly begins to unfold: it all starts with a vulgar family. Making you believe this tale of narcotics and abuse is a true love story, Carach Angren intrigues the listener with placid violinists afflicting with slaughtering drums to tell the tale. This unfortunate tale continues with the domestic abuse gone suicidal as the mother kills herself. Carach Angren continues to plague the listener with a gravel-grinding string quartet and raging riffing to describe this scene.

 

The story continues in the manner of the next song Two Flies Flew into a Black Sugar Cobweb: a mix of glory and gloom. This song embodies the classic exalted theatrics that symbolize the children escaping their deleterious home. This song in particular weaves the maniacal and melodious influences: the story becomes truly spellbinding as a pleasing piano symbolizes the children finding a nice clown whom is willing to give them shelter, yet the darkness definitely exists as blast beats and shrieking vocals gouge their way into the fairy dust where the clown abducts the children.

 

This part of the tale – the songs Dreaming of a Nightmare in Eden and Possessed by a Craft of Witchery – begins deliberately yet becomes increasingly demented. A faltering oboe is used to describe the children as they eat the gingerbread house, and then the theatrics become outrageous as Gretel starts to internally decompose. The story turns even wickeder as the children wait to be killed.

 

This tale of intensity swiftly turns into a tale of evil with Killed and Served by the Devil. Every note played sounds like piercing flesh as the entanglement of brutal composition and solacing melodies crushes you, expressing the scene where Hansel is murdered. The sullen atmosphere makes for the darkest song on the album, as the song itself sounds like fresh blood out of an open wound.

 

Gretel receives her vengeance in The Witch Perished in Flame, where she succumbs her brother’s killer and the witch to the flames. This resolution is recounted with a triumphant trumpet, pounding drumming, and melodic riffing. Yet this album ends with Tragedy Ever After, and as any listener should know this tale ends with total ruination. The tragedy is described by blaring trumpets, dexterous drumming and demonic vocals. Gretel realize she never escaped, yet just fell asleep and woke up to her psychopathic father.

 

Carach Angren never falters, yet their creativity is limitless. This is No Fairy Tale is another reminder of Carach Angren’s fanaticism. This take on the traditional fairy tale doesn’t end with happily ever after; yet, with an acrid nightmare that reflects upon the reality of real-life. An inescapable nightmare filled with the evil and greed of human beings; a world that we’re cursed to live.

 

http://theageofmetal.com/carach-angren-this-is-no-fairytale-2015/

Most people perceive Gruesome as a reinvented Death mashed up with an insane supergroup. This band is that, but so much more. Gruesome is its own monsters that bites its sharp fangs into brutal soloing and claws deep within complex composition. Each distinguished member delivers their most impressive work which pounds deep into the skull of the album. So listen to this album, and prepare for bloodshed and mass mutilation.

 

Gruesome introduces an unknown force right at the album’s beginning. Thrash-induced technicalities create an atmosphere unheard of to man. As the song continues, the instrumentals become slower – giving the listener hope that the insanity has ended. Suddenly, the excruciating solos come to attack; the speed and strength behind the playing is enough to annihilate any man. This immoral nature is only the beginning.

 

Trapped in Hell plummets you into a fiery fortress; rapid picking and harsh gutturals from Matt Harvey create the environment intended for complete malice. The composition changes from vigorous to complex throughout the song, yet the flames continue to scorch throughout the entirety of the track.

 

Hideous is one of the most relentless songs on the album. The intro riff is slow and brutal, enough to reel you in for the monstrosity ahead. A vile concoction of blistering solos and Gus Rios’ inhuman drumming is mixed with ulcerating melodies. This creation is the track Hideous: a pungent recipe intended to force the listener to decompose internally, rotting from the inside out. In short, it’s by far one of the malevolent tracks on the album.

 

The decay starts off with the track Gangrene. The drum intro is the first sign of disintegration. The punchy guitars then come in, and that’s when the violence truly begins. The melodic riffing mixes with the intricate drumming, and the skin starts to fall off piece by piece. Bone is exposed when the solo pounds in, and the vitality that ensures throughout the rest of the song will leave the listener lifeless.

The song Gruesome is titled as such because it perfectly describes the band. Immediate horror is struck as the opening riff is heard. The song moves in a way that each part jumps out at you: Harvey and Daniel Gonzalez emerge with crunching riffs while rattling drums grind their way through a convoluted writing structure. The pain then stops suddenly as the song ends. The album is over.

 

While I realize this is probably a project amidst the perpetually active members, I really hope death metal fans see more of this project. This material I’ve grown to like more than most bands whom are rising in the death metal genre. This band reinvents old school death metal in the way that its vulgar atmosphere is unmatched. This is one of the few bands combining lurid melodies that bash violently with technical composition, creating the formula for the ultimate death metal sound. 2015 has so far laid down its most annihilating album.

 

http://theageofmetal.com/gruesome-savage-land-2015/