MALAMOR : Waiting the Groovy and Brutality

MALAMOR - Waiting the Groovy and Brutality 

Kalau masih ada yang mengira band death metal itu harus memilih: mau brutal tapi dilupakan, atau catchy tapi kehilangan taring, mungkin mereka belum pernah dengar bagaimana MALAMOR dibentuk. Karena sejak awal, band ini sudah terang-terangan bilang: " kenapa tidak dua-duanya sekalian? " Brutal iya, tapi tetap nempel di kepala. Konsep yang terdengar sederhana dan tentu saja, sulit dieksekusi kalau cuma modal karakteristik. Didirikan tahun 1993 oleh Gitaris Ben Kolts yang kemudian mengajak Vocalis Jason Kolts, yang masih saudara kandungnya, Bassis Dave Markle     Bass dan Drummer Shawn Mann, Malamor muncul dari rahim scene New York yang memang terkenal tidak suka basa-basi. Di sana, death metal bukan sekadar genre, tapi semacam bahasa komunikasi: keras, langsung, dan kalau bisa sekalian bikin leher keseleo. Tapi Malamor tidak berhenti di keras saja cukup. Mereka menambahkan elemen groove ala slam khas New York, bukan buat gaya, tapi buat memastikan setiap riff punya daya tarik, bukan sekadar jadi tembok suara tanpa arah.

Masuk ke tahun 1995, mereka merekam demo lima lagu di Applehead Studio, Bearsville, NY, tempat yang mungkin tidak terdengar sakral, tapi cukup untuk melahirkan Demo " Condemn The Rising ". Awalnya? Cuma buat konsumsi klub lokal. Iya, cuma buat lingkaran kecil. Ironisnya, justru dari situ demo ini jadi buruan. Rilisan tahun 1997 lewat Sherlocks Upstate Records langsung ludes 500 kopi kaset dalam hitungan bulan. Di era sekarang mungkin angka itu terlihat " receh ", tapi di masa itu tanpa algoritma, tanpa promosi digital itu tanda satu hal: materi mereka memang bekerja. Dan yang menarik, ini bukan sekadar hype lokal. Lagu-lagu dari demo tersebut mulai muncul di berbagai kompilasi underground. Artinya? Nama mereka mulai menyebar dari mulut ke mulut, cara kuno yang jauh lebih jujur daripada angka streaming hasil playlist buatan sistem.

Lalu masuk fase panggung. Malamor bukan tipe band yang puas latihan di studio sambil menunggu viral. Mereka turun langsung, tampil ratusan kali, dan ini bagian yang sering diremehkan jadi pembuka untuk nama-nama yang tidak perlu diperkenalkan lagi: Deicide, Cannibal Corpse, Fear Factory, Napalm Death, Morbid Angel, Malevolent Creation, Suffocation, Dying Fetus, sampai Immolation. Daftar ini bukan pajangan ini validasi keras dari medan perang sesungguhnya: panggung. Puncaknya? Tahun 2004 mereka merilis full album " Dead To The World " lewat Label asal Jepang yg kala itu terkenal menjadi sarang-nya band Death Metal sangar, Amputated Vein Records. sebagian materi ini direkam ulang dari demo " Condemn the Rising " dan proses rekamannya 5 sebelum dirilis, tahun 1997 di Sabella Studios. menampilkan drummer baru Dave Tetreault yang mengisi untuk lagu " Condemn the Rising ", sebagian masih dimainkan oleh Shawn Mann sebelum cabut. Jadi kalau ada yang bilang mereka telat rilis, ya mungkin lebih tepat disebut: mereka sabar menyimpan amunisi sampai waktunya tepat. Dan seolah belum cukup, album ini juga menampilkan vokal tamu dari Vocalis Frank Mullen-nya Suffocation. Ini bukan sekadar cameo biar terlihat keren. Ini semacam stempel: ya, kalian memang layak diperhitungkan.  Setelah itu? Tur bareng Suffocation dan Dying Fetus keliling AS dan Kanada. Lalu lanjut jadi headliner di Jepang, termasuk tiga show di Tokyo. Dari klub lokal ke panggung internasional tanpa harus mengubah DNA mereka. Itu bagian yang sering gagal dilakukan band lain.

Secara musikal, Malamor berdiri di garis tipis antara brutalitas dan groove. Mereka tidak sekadar menghajar, tapi tahu kapan harus " mengunci " pendengar dengan ritme yang bikin kepala otomatis bergerak. Slam yang mereka bawa bukan gimmick, tapi bagian organik dari komposisi. Jadi bukan sekadar berat, tapi juga punya flow. di era sekarang, banyak band sibuk bikin musik se- ekstrem mungkin, tapi lupa bikin sesuatu yang bisa diingat. Malamor sudah menyelesaikan PR itu sejak 90-an. Mereka brutal, iya. Tapi juga memorable. Dan ternyata, itu kombinasi yang jauh lebih langka daripada sekadar cepat dan keras. Malamor bukan band yang lahir untuk jadi legenda besar di headline festival. Tapi mereka adalah tipe band yang diam-diam membentuk fondasi scene yang mungkin tidak selalu disorot, tapi pengaruhnya terasa. Dan kalau masih ada yang meremehkan konsep " groove dalam brutalitas ", mungkin mereka belum benar-benar mendengarkan.

Discography

Condemn the Rising ' Demo 1995      
4 Song Advance ' Demo 1998      
Dead to the World ' Full-length 2004

Condemn the Rising

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Dead to the World

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SINTURY : TXDM Meet NYDM for Disgorging the Dead !!!

SINTURY : TXDM Meet NYDM for Disgorging the Dead !!!

Kalau masih ada yang percaya semua band death metal punya umur panjang, katalog tebal, dan evolusi gaya sampai tujuh turunan, mungkin kisah sintury ini bakal terasa seperti tamparan realita yang cukup menyakitkan. Karena ya, ini band cuma sempat bikin satu rilisan, satu album, lalu bubar. Selesai. Tidak ada bab dua, tidak ada comeback penuh gimmick, tidak ada " anniversary tour 25 tahun ". Ironisnya? Justru dari situ lahir sesuatu yang sampai sekarang masih susah disaingi. Album debut mereka " Disgorging the Dead " sering dilabeli sebagai bagian dari Original TXDM (Texas Death Metal). Tapi jangan buru-buru menganggap ini sekadar varian lokal yang mencoba numpang tren. Karena di dalamnya, ada Perpaduan style New York Death Metal dengan sentuhan slam groovy, sekali lagi, groovy, bukan slamming murahan yang cuma jual breakdown tanpa arah. Dan yang paling lucu, rilisan ini muncul tepat sebelum istilah " Slam death metal " jadi komoditas. Jadi kalau ada yang merasa ini terdengar familiar, mungkin karena banyak yang datang setelahnya diam-diam belajar dari sini. Pengalaman pertama mendengarkan album ini seringkali berujung pada satu reaksi: " Loh, kok beda? " Di saat banyak band lain sibuk berlomba jadi paling cepat, paling brutal, atau paling ribet tanpa arah, Sintury justru memilih jalur yang lebih cerdas. Tempo mereka berkisar dari sedang sampai cepat, tapi tetap terasa berat. Blast beat ada, tapi tidak dipakai sebagai pelarian. Justru yang lebih menonjol adalah permainan drum yang penuh variasi fill yang hidup, permainan cymbal yang tidak monoton, dan dinamika yang terasa dipikirkan, bukan sekadar dihajar.

Masuk ke sektor gitar, riffing mereka jelas punya identitas. Ada pola stop-and-go yang bikin pendengar tidak bisa sekadar ikut alur, harus benar-benar memperhatikan. Beberapa bagian terdengar seperti jebakan ritmis, lalu tiba-tiba dilepas dengan groove yang mengunci. Solo-nya? Tidak berlebihan, tapi pas. Tidak sekadar pajangan skill, tapi benar-benar menyatu dengan struktur lagu. Lalu vokal, dua vokalis dengan pendekatan berbeda. Satu membawa growl rendah yang dalam, sementara yang lain mengisi dengan teriakan scream dan variasi mid-growl. Hasilnya bukan chaos tanpa arah, tapi layering vokal yang memberi dimensi tambahan. Tidak semua band bisa melakukan ini tanpa terdengar berantakan, tapi di sini justru terasa natural. Dan sekarang, bagian yang paling mungkin sering diremehkan tapi justru jadi senjata rahasia: bass. Iya, bass. Di saat banyak band death metal memperlakukan bass seperti bayangan samar di belakang gitar, Sintury malah menjadikannya elemen yang benar-benar hidup. Dimainkan dengan pick, sound-nya jadi lebih tajam dan punya artikulasi jelas. Setiap nada terdengar, bukan sekadar getaran latar. Ini bukan sekadar pengisi frekuensi rendah, ini bagian integral dari komposisi.

Secara produksi, album ini tidak mencoba jadi " sempurna ". Tidak sebersih kristal, tidak terlalu dipoles. Tapi justru di situlah kekuatannya. Sound-nya mentah, tapi jelas. Semua instrumen terdengar seimbang, tidak ada yang saling menutupi. Dibandingkan versi remaster 2005 yang lebih " rapi ", banyak yang justru merasa kehilangan karakter liar dari versi aslinya. Karena kadang, terlalu bersih itu justru membunuh jiwa. Menariknya, banyak orang pertama kali menemukan album ini bersamaan dengan demo " Impaled " milik rekan se-kampung, Devourment. Dan ya, Devourment memang punya dampak besar. Tapi di titik tertentu, repetisi gaya mereka bisa terasa ya, itu-itu saja. Sementara Sintury? Justru tetap relevan karena variasi dan musikalitasnya tidak cepat basi. Ini bukan soal siapa lebih brutal, ini soal siapa lebih tahan lama di kepala. banyak band berlomba jadi " paling ekstrem " seolah itu satu-satunya parameter kualitas. Sintury sudah membuktikan sejak lama bahwa brutalitas tanpa variasi itu cepat usang. Mereka memilih jalan yang lebih sulit membuat musik yang tetap berat tapi juga menarik untuk didengar berulang kali. Dan ternyata, itu jauh lebih efektif.

" Disgorging the Dead " mungkin tidak pernah jadi album paling populer, tidak juga paling sering disebut di daftar " wajib ". Tapi justru itu yang bikin ia penting. Ini adalah salah satu tonggak tersembunyi death metal pertengahan 90-an terlalu diremehkan, kurang dikenal, tapi punya pengaruh yang terasa bagi yang benar-benar mendengarkan. Dan kalau masih ada yang belum memasukkan album ini ke daftar wajib dengar, mungkin masalahnya bukan di albumnya tapi di standar kalian yang terlalu sibuk mengejar hype daripada kualitas, that is real for to day !

Disgorging the Dead ' CD 1998

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ETERNAL SUFFERING Yang selalu dirindukan Reuniannya

ETERNAL SUFFERING Yang selalu dirindukan Reuniannya

Kalau masih ada yang mengira semua band lama cuma hidup dari kenangan dan kaos jadul, mungkin nama ETERNAL SUFFERING bisa jadi tamparan kecil yang cukup menyakitkan. Bukan karena mereka masih aktif bikin gebrakan, tapi karena apa yang mereka tinggalkan itu terlalu " niat " untuk sekadar dilupakan. Berasal dari Daerah Kingston, Massachusetts, Amrik. unit ini muncul sejak 1994 (dengan nama awal Disgorge, iya, sebelum nama itu jadi rebutan secara global), lalu berevolusi jadi ETERNAL SUFFERING. Dan seperti banyak band yang lahir di era itu, mereka tidak datang untuk terdengar manis. Mereka datang untuk menghajar tapi dengan gaya tersendiri dengan mengadopsi sentuhan kuat NYDM. Yang bikin menarik, mereka tidak sekadar bermain death metal lurus tanpa arah. Ada suntikan groove khas slam yang Ajojing, tapi santai dulu, ini bukan slamming yang cuma andalkan breakdown murahan. Ini groove yang punya bobot, yang bikin kepala otomatis goyang tanpa harus kehilangan intensitas brutalnya. Kombinasi ini yang bikin mereka punya identitas, bukan sekadar jadi band lain di lautan distorsi. Secara musikal, mereka punya pendekatan yang cukup cerdas: brutal tapi tetap terasa " ngunci ". Riff-nya berat, ritmenya mengikat, dan groove-nya tidak terasa dipaksakan. Jadi bukan cuma soal cepat atau keras, tapi bagaimana semua elemen itu dikemas biar tetap punya impact. Dan ya, itu sesuatu yang tidak semua band bisa lakukan meskipun banyak yang sok mencoba. Kalian tau kan jaman now yang kekianian, banyak band sibuk menambahkan label " slam ", " brutal ", atau " technical " di depan nama genre mereka biar terdengar keren. Eternal Suffering? Mereka sudah melakukan itu semua tanpa perlu sibuk menjelaskan diri. Hasilnya jelas ! mereka mungkin tidak selalu jadi headline besar, tapi untuk yang benar-benar paham, nama ini tetap punya tempat khusus. Karena pada akhirnya, yang bertahan bukan yang paling ramai dibicarakan, tapi yang paling terasa nempel kuat di kepala.

Perkenalan dimulai tahun 1995 dengan " 10/7/95 Rehearsal Tape " rilisan kaset pita dengan cover sederhana cuman photocopian, masih menampilkan formasi pertama yang membentuk band, diantaranya sudah almarhum, kayak Bassis Chris Glover (Meninggal tahun 2023), Drummer Chad Connell, Gitaris Brian Evans (Meninggal tahun 2019) dan Vocalis Wayne Sarantopoulos. selang 1 tahun kemudian demo ke-2 " Demo 1996 " masih dirilis Independen, namun covernya sudah meningkat menggunakan kertas warna, direkam di Ultrasound in Hanover, Massachusetts. kemudian tahun 1997 band ini merilis secara Independen Demo ke-3 dalam format CD yang dicetak terbatas 500 kopi saja dengan artwork cover yang sama sekali menjauh dari kesan " Gahar ". Demo lama ini adalah sebuah karya luar biasa dari brutal death metal old school. Band ini menggabungkan vokal yang keren, riff gitar yang beratmosfir gelap dan brutal, serta cabikan bass yang luar biasa dan drumming yang powerfully pada waktu itu. Eternal Suffering menghasilkan sound unik yang luar biasa, menggunakan jeda gitar yang menonjol sehingga gitar bass lebih mentereng, dan memperlambat seluruh beat lagu hingga merayap dengan menakutkan. " Remain Forever In Misery " adalah sebuah tonggak dalam genre brutal death metal, memberikan blueprint yang baik untuk genre ini, terutama riff slam groovy yang lambat dan berat. Musik di Demo ini memancarkan nuansa suram, kemarahan, dan keputusasaan. Melintasi ke dalam death-doom di beberapa area, demo ini menghasilkan dinding kesatuan horor dan isolasi internal. Musiknya berjalan lambat, lalu tiba-tiba berhenti, membusuk dalam kesengsaraan dan penderitaannya sendiri. Benar-benar menghancurkan. yang membutuhkan lebih banyak perhatian bukan hanya karena suaranya yang unik, tetapi juga karena betapa berpengaruh dan hebatnya musiknya. Produksi demo ini sudah terdengar keren dieranya untuk sebuah rilisan independen, dengan bass, gitar, vokal, dan drum semua duduk dengan nyaman dalam mixing. nama Eternal Suffering jelas mendapat sundulan signifikan atas lebih luasnya peredaran demo ini, puncaknya kontrak kerjasama bareng Extremities Productions, Label Death Metal keren diera-nya dari California yang memperkenalkan nama Disgorge, Gorgasm untuk pertama kalinya, sebelum menjadi bagian dari Repulse Records untuk kawasan Amrik, label ini keburu tutup buku. Debut full album " Drowning in Tragedy " Adalah Puncak Karir EternaL Suffering namanya diperhitungkan scene dunia death metal. materinya sendiri digarap di Tritricon Studios, Avon, CT bareng Jason Suecof-nya Capharnaum sukses membuat materinya Eternal Suffering semakin Berkilau dengan karakteristiknya. Dibiayai sepenuhnya oleh Scenester Legendaris John Dwyer yang sebelumnya adalah boss dari Pathos Productions dan Melted Productions juga Mantan pembawa penyiar radio " The Metal Cage (WRIU 90.3) " dari tahun 1994 hingga 2000. 

" Drowning in Tragedy " adalah jenis album yang akan membuat kalian sedih karena saking bagusnya. Ini adalah jenis album yang bisa saja menjadi klasik kecil, ada di era pembentukan dan memiliki sound yang mengaburkan batasan subgenre dan mendorong death metal ke realm yang lebih brutal, tetapi tidak memiliki kekuatan atau pengakuan yang hampir sama dengan yang didapat Disgorge dan Gorgasm, meskipun mereka adalah satu-satunya band lain yang pernah ditandatangani oleh Extremities Productions yang berumur pendek. Bahkan Dripping memiliki lebih banyak hype bawah tanah daripada ini, w rasa Eternal Suffering membutuhkan lebih banyak pengaruh hip-hop atau judul lagu yang lebih aneh atau semacamnya. Pertama-tama, This Heavy!!!. Benar-benar sangat berat. Nada gitar memotong seperti batu bata, bergemuruh dan besar, menyatu dengan nada bass yang dalam, entah bagaimana mengatasi perpaduan yang tenang dengan kekuatan kasar yang murni. Dan petikannya sangat bersih! Cara proto-slam meluncur ke dalam otak kalian tanpa usaha dan segera membuat kalian seperti masuk ke mode manusia gua, dan kalian merasakan setiap tremolo kecil selama momen-momen yang lebih cepat, dengan beberapa petunjuk gaya langkah tersendat yang lezat yang mendefinisikan band-band seperti Decapitated dan Soreption. Pada awalnya itu tidak masuk akal, tetapi kemudian w melihat siapa yang menggarap album ini, tidak lain adalah Jason Suecof. Jumlah kekuatan murni yang mampu dia ekstrak dari suara grup ini mungkin salah satu alasan mengapa dia menjadi nama rumah tangga sebagai produser saat ini. Slam bahkan belum sepenuhnya ada (sekarang entah kenapa menjadi Slamming, Type genre yang cenderung membosankan!), tetapi mereka menangkap apa yang membuat slam bagus dengan sangat sempurna dengan chugs hardcore raksasa mereka yang memberikan jeda dari bagian ledakan dan tremolo yang mengguncang. Cara mereka bisa beralih dengan cepat dari merobek wajahmu pada 240bpm ke kekuatan brutal yang mengesankan dan sangat menyenangkan untuk didengarkan. Drumnya juga ketat, dengan banyak pekerjaan snare yang sangat cepat sambil tetap mempertahankan groove gaya NYHC yang solid selama bagian lambat, dengan banyak gerakan kaki yang menarik di bawahnya.

Tahun 2010 Eternal Suffering kemudian merilis EP " Echo of Lost Words " via label asal Rusia, Inherited Suffering Records milik Alexander Kubiashvili-nya Abominable Putridity telah membuat perhitungan ke-2 meski respon-nya tidak sehangat materi full albumnya. EP ini adalah Enam lagu pertama dalam awalnya direncanakan untuk dirilis pada tahun 2001 sebagai bagian dari split bareng Vomit Remnants. Pemisahan tersebut, yang seharusnya dirilis oleh Extremities Productions, namun akhirnya dibatalkan. Materi EP digarap di Primitive Recordings dengan materi yang terdengar lebih cepat dengan sound yang lebih menggeser ke modern DM style rasanya, bagus sih namun sayang debut EP ini justru menjadi materi perpisahan band untuk menguburnya hidup hidup ditengah kesibukan aktifitas band-nya. Skill bermain drummer Chad Connell emang jadi poin sorotannya mungkin, dengan teknik dan skill mumpuni meski pengalaman ngeband brutalnya hanya di Eternal Suffering semata wayang namun sentuhannya paling memorable banget gess !

Karena Rilisan rilisan sebelumnya sempat menjadi Rare dikalangan kolektor, akhirnya Pathos Production tahun 2011 merilis " Recollections of Tragedy & Misery ", Versi Digipak, Remastered dan Limited edition dari 2 materi demo " Remain Forever in Misery " dan Album " Drowning in Tragedy " akhirnya menjadi pelepas dahaga diehard fans-nya. w benar-benar berpikir bahwa siapa pun yang menyukai brutal death metal dan deathcore harus memperhatikan band ini. Itu terlalu singkat tapi betapa bagusnya! kepiawaian musik mereka sangat mengesankan, dan mereka sangat mahir mengintegrasikan bagian mosh yang menghukum (istilah yang saya gunakan untuk secara kolektif menggambarkan slams, breakdowns, dan beatdowns) ke dalam basis mereka yang sangat brutal mirip NYDM. Musik mereka sama sekali tidak pretensius: rasanya mereka benar-benar menikmati apa yang mereka lakukan dan ingin orang lain ikut bersenang-senang. Kompilasi ini diakhiri dengan dua lagu bonus, "Addicts Are Weak" dari demo mereka tahun 1996, dan "J.D.S" yang merupakan lagu yang sebelumnya belum pernah dirilis dan hadir dalam edisi terbatas digipak. Sebuah hadiah yang bagus untuk fans diehard setia mereka, bertahun-tahun setelah bubar!

Discography

* 10/7/95 Rehearsal Tape ' Demo 1995      
* Demo 1996 ' Demo 1996      
* Remain Forever in Misery ' Demo 1997     
* Drowning in Tragedy ' Full-length 1999     
* Echo of Lost Words ' EP 2010      
* Recollections of Tragedy & Misery ' Compilation 2011

Remain Forever in Misery ' Demo 1997



Drowning in Tragedy ' CD 1999



Echo of Lost Words ' EP 2010

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TORTURE KRYPT - Monster NYDM yang Hilang ditelan Bumi

TORTURE KRYPT adalah sebuah band yang terbentuk tak lama setelah gerakan death metal mulai meledak. belum tau pasti sejak kapan dibentuk, pokoknya sekitar tahun 1993 band ini langsung memperkenalkan demo pertama " Torture Krypt " dengan formasi Dennis Carroll pada bass Bass, Paul Wyman pada Drums, Mike Burton pada Guitars dan John Lavenia pada Vocals yang mereka kerjakan secara Independent dalam format kaset. dan dalam 1 taun mereka merilis demo ke-2 " Bestial Mutation " tahun 1994 dan 1 tahun kemudian mereka baru merilis EP " Rotted Remnants " Tahun 1996 dengan memperkenalkan drummer baru Bryan Natusch. EP ini dirilis oleh label metal veteran asal California, Wild Rags Records yang adalah sebuah label rekaman, fanzine, dan toko di Montebello, California. Didirikan pada tahun 1980-an oleh Ricardo Campos. Mereka memiliki slogan "Label Rekaman Terkecil tetapi Terberat di Amerika" pada publikasi mereka dan di bagian belakang beberapa CD mereka. Band ini tidak akan pernah melihat lebih dari beberapa tahun beraksi, tanpa album penuh di nama mereka. Namun, mereka memiliki dua demo dan satu EP berjudul Rotted Remnants. Ini adalah salah satu rilis cepat di mana hanya dengan sekali lihat saja bisa memberi kalian gambaran tentang apa yang akan hadapi. Guruhan guttural, gitar yang mentah dan energik, serta ritme yang kasar adalah inti dari album ini.

Sungguh mengejutkan, itu hanya dasar umumnya, dan TORTURE KRYPT berhasil memanfaatkan hal-hal lain meskipun hanya memiliki waktu tayang yang singkat. "Obdurate Into Destruction" memadukan bridge seperti breakdown, dan vokalnya hampir memungkinkan sedikit melodi bersinar, jika kalian benar-benar menggali dalam komposisi growl-nya. Ada juga banyak pola ayunan yang membuat lagu-lagu ini tidak terdengar terlalu satu dimensi. Bass yang kuat dapat terdengar di "Bestial Mutilation," yang merupakan sentuhan yang cukup bagus. “Disassembly” menyisipkan beberapa vokal yang dinyanyikan, mencerminkan sedikit nuansa Deicide dan kehadiran jahat secara umum. Band ini benar-benar melakukan pekerjaan yang baik dalam memberikan banyak hal dengan usaha yang kecil. Tentu saja, w akan berbohong jika w mengatakan " Rotted Remnants " tidak mempertahankan dasar yang sama untuk segala sesuatu yang dibangunnya. Kelima lagu (tidak termasuk intro) cepat dan langsung ke intinya, memberikan sedikit ruang untuk omong kosong atau tambahan yang bisa membebani. Tapi meskipun dengan trik-trik kecil yang disisipkan di sana-sini, tidak ada kejutan yang membuatku terkejut. Siapa pun yang menyukai death metal old school yang terabaikan harus mencoba ini. Ini hanya berdurasi sekitar enam belas menit, dan memiliki keseimbangan sempurna untuk menjaga satu ide agar tidak terdengar satu dimensi.

Band ini makin tidak terdengar Informasinya sejak itu hingga beruntung Pathologically Explicit Recordings label asal spanyol merilis discography rare nya dalam slipcase CD yang memuat semua rilisan band. Ini adalah diskografi lengkap dari sebuah band yang berumur pendek dari awal scene brutal death metal, dan pasti layak untuk diperiksa. Apa yang kalian dapatkan adalah satu EP studio dan dua demo yang berisi perpaduan outtakes dan beberapa lagu yang ada di EP. Secara musikal, ada penekanan berat pada groove dengan riff tremolo ritmis dan garis bass yang funky dan menonjol dengan pedal bass ganda pada drum. Ada beberapa momen riff jenis 'choppy' yang kemudian akan mendominasi brutal death metal, tetapi ini terutama untuk para headbanger. Ada akor disonan yang jarang terdengar. Vokalnya adalah geraman rendah tanpa banyak variasi, tetapi dia mudah dipahami. Beberapa lagu ("Disassembly" dan "Psychosis") menunjukkan sisi catchy dari band ini dengan vokal yang berosilasi dari satu speaker ke speaker lainnya dan paduan suara call-and-response. Sorotan termasuk "Obdurate into Destruction" dengan riffnya yang triumphant di bait kedua, dan "Pharisaical" sebagai lagu terdalam dan tergroovy yang mereka tulis. Lirik-lirik awal juga berbeda dari tema gore yang khas dengan lagu-lagu tentang masyarakat dan masalah pribadi.

Ada dua poin di mana album ini bersinar (dan di mana banyak kompilasi jenis ini kesulitan): materi dan mastering. Ketika kalian mengumpulkan demo paling awal dari siapa pun, terkadang beberapa di antaranya hanya sampah, tetapi sebenarnya materi paling awal - yang diberi judul TORTURE KRYPT - tidak hanya dapat didengarkan tetapi sebenarnya salah satu bagian terbaik. Volume-nya seragam di setiap bagian kompilasi ini juga. Semua lagu memiliki tingkat desibel yang sama sehingga Anda tidak perlu menyesuaikan saat mendengarkannya - itu bisa menjadi sangat mengganggu pada beberapa rilis semacam ini. Ada masalah sound pada demo " Bestial Mutation " dengan beberapa gangguan yang menginterupsi satu lagu, tetapi mengingat usia materi tersebut, w rasa tidak banyak yang bisa dilakukan.

DISCOGRAPHY

Torture Krypt - Demo ' 1993
Bestial Mutation - Demo ' 1994
Rotted Remnants - EP ' 1995
Resurrecting the Krypts - Compilation ' 2010

Band site
https://www.facebook.com/torturekrypt/     

Torture Krypt ' Demo 1993



Bestial Mutation ' Demo 1994



Rotted Remnants ' EP 1995



Resurrecting the Krypts ' 2010

 

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BETWEEN TWO EVILS ... Death Metal Groovy Embargo !!!!

BETWEEN TWO EVILS ... Death Metal Groovy Embargo !!!!

Berangkat dari kesamaan ide dan karakter, teman satu tongkrongan sering kali menjadi “laboratorium dadakan” yang jauh lebih efektif daripada ruang studio mahal. Di sanalah pola pikir, selera musik, dan kebiasaan sehari-hari bercampur tanpa filter dan anehnya, justru itulah yang paling membentuk arah sebuah musikal. Tak perlu riset rumit dan berbelit untuk memahami fenomena seperti ini. Ketika orang-orang yang menghabiskan waktu bersama mulai merangkai nada, biasanya hasilnya otomatis memiliki ciri yang jelas: agresivitas yang sama, humor yang mirip, kegilaan yang sefrekuensi, dan tentu saja kecenderungan musikal yang seragam. Sikap dan karakter yang terbentuk di lingkar pertemanan itu menjadi fondasi kuat yang meninggalkan jejak kreatif mudah dibaca seolah musiknya berkata, “Ya, ini jelas karya anak-anak tongkrongan itu.” dan yang dimaksud adalah New York Scene yang Familiar dengan Pendekar-pendekar Death metal karismatik-nya. dari sekian nama Drummer yang dikenal 1 tongkrongan di Long Island, New York adalah : George Torres ! yang catatan karirnya diband adalah : ex-420, ex-Artery Eruption, ex-Skinless, ex-Mortician (live), ex-Hiroshima 22. dan Kali ini ada 1 nama yang harus kalian catat yak, BETWEEN TWO EVILS ! 

Dibentuk sekitar tahun 2009, formasi awal terdeksi ada George Torres (Drums), Alm. Gitaris Matty Bones, Michael Centrone (Vocal, ex-Dehumanized, ex-Apathetic Torture, ex-Through the Discipline, ex-Unscarred) dan Jim Murphy (Bass, ex-Internal Bleeding, ex-25 ta Life, ex-G.F.Y.) langsung menulis demo pertama " Demo-stic Violence " tahun 2010 secara independen. materinya sendiri direkam dari bulan Desember 2009 hingga Juni 2010. meski hanya berumur 1 tahunan hingga 2010, BETWEEN TWO EVILS sempat diperkuat oleh Bassis Anthony Cossu (Waking the Cadaver, Without Remorse, ex-Hate Diplomacy, ex-Inhuman Devourment, ex-Dehumanized, ex-Feral) dan Gitaris Dan Hernandez (ex-The Partisan Turbine, ex-Mother Brain, ex-Revenance). setelah itu karena kesibukan masing-masing band utama, BETWEEN TWO EVILS memutuskan untuk membubarkan diri, sayang memang sih padahal BETWEEN TWO EVILS memiliki potensi menarik untuk berkembang hari ini dan nanti dengan karakteristik New York DM Khas-nya. 

Facebook
https://www.facebook.com/pages/Between-Two-Evils/299441860215?ref=ts&fref=ts

 

  

 

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IMBRUED BLEMISHMENT : Fresh Slaught Siamese Hyper Groovy Brutality !!!

IMBRUED BLEMISHMENT : Fresh Slaught Siamese Hyper Groovy Brutality !!!

Siamese Hyper Groovy Brutality, Bangkok Thailand IMBRUED BLEMISHMENT telah teken kontrak kerjasama dengan Permeated Records untuk Debut full albumnya nanti. materi Demo 2 track mereka sangat memukau lewat sajian Hyper Groovy Brutality, Insane Blastbeats and Inhuman vocals. Siamese Brutalism musisi Kolektif dari beberapa genre brutal sepakat membentuk konspirasi baru tahun 2013 dibawah nama IMBRUED BLEMISHMENT, catat nama vocalis Surachet Suntharasri (ex-Nameless Author), Saken (Guitar, A Good Day for Killing), Wit Klubvisat (Guitar,     Lacerate, Splattered Orgasm, ex-Villainous), Norathep (Bass, A Good Day for Killing, ex-Masochist) dan Drummer Sunyaluxx (Lacerate, Masochist, Zygoatsis, Surrender of Divinity), well, rasanya ga perlu diragukan sepak terjang pengalaman mereka membantai panggung dibeberapa band sebelumnya. untuk yang penasaran mendengar bagaimana konsep lagu yang mereka muntahkan, silahkan dengarkan materi demo keren mereka dibawah ini :

IMBRUED BLEMISHMENT - Skin by Hellucination



IMBRUED BLEMISHMENT - Atrociously Pulverized the Bones



IMBRUED BLEMISHMENT Information

https://www.facebook.com/pg/IMBRUEDBLEMISHMENT
https://www.imbruedblemishment.bandcamp.com

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GOD ENSLAVEMENT Interview (Ludwigshafen, Germany)

GOD ENSLAVEMENT Interview (Ludwigshafen, Germany)
Amazing Surprized Seemingly encountered an Acherontic Old School Death-Grind, I really thought it would completely Destroy Everything, Hails ENSLAVEMENT GOD !!! I dont Believe, I really shocked by the year 2016 Amazed project from Germany in collaboration with musician USA Modern era is not Being extremely difficult, the technology is already available, skill already Mumpuni, and creates a masterpiece that will shake a lot of eyes. recently constituted and I sure many who do not know the name of God Enslavement, especially the subconscious elo still crammed with the names of the market that is increasingly boring. around 2015's, when guitarist Björn Köppler gather with other friends and blaze to start the Damned project. distance is not a big problem, but they are important for communication. featuring guitarist DEHA, his behavior was already recognized in many bands, Man Multitalent Bloody Belgium's original focus on guitar instrument in God Enslament, then Lead Guitarist Kevin Olasz (Aardvarks, Deadborn, Maladie, ex-Jack Slater, ex-Act of Worship, ex- Thornostrum) most Featured solos gorgeous it, then bassist Julian Roos whose name I know when to play at band Retaliation and many more, and two last names may have been very familiar for Musicians Metal International, Yupz, vocalist Vince Matthews (Criminal Element, ex-Sadistic Torment, ex-Biovore, ex-Covenance, ex-Dying Fetus, ex-Mucus Membrane) and Drummer Energetic Adam Jarvis (Misery Index, Pig Destroyer, ex-Criminal Element, All Will Fall, Asthma Castle , Fulgora) into two latest members are baptized in the formation of Enslavement God Project. play concept more enjoy it called Acherontic Old School Death-Grind, God Enslavement will give a refreshing experience how to enjoy a dish that today might have been abandoned, check aja Color condensed Criminal Element, Misery Index, Dying Fetus (era "Stop At Nothing" ) and most of the band Death / Grind New York. whether My Mood being kebawa Feel strong character Vince Matthews and wild Drum Beats Adam Jarvis, so i like to hear new and refreshing form bands I Says earlier? Solo-dressing with a very nice melodic solos to give a refreshing therapy when Bombard Death / Grind Aggressive experiencing out of control. Damn! Debut full first laborious and time-consuming to do it until the mastering process by Stefano Morabito at 16th Cellar Studio is promising Dream Come True for the debut full first released Independent via Digital Release and intercepted when on May 20, 2016, Bret Hard Records is ready to release back in its physical format.

Hello! No waste of good suffering is wanted, give us a penetrating introduction to GOD ENSLAVEMENT and don't hesitate to stuff it hard! It seems the musicians of GOD ENSLAVEMENT play or used to play in various other outfits before... Is the band supposed to be a new and totally fresh entity, or rather the continuation of another one that existed before?
Hey guys, GOD ENSLAVEMENT is a new band with some well-known people, yes. We all are still playing in other bands like Misery Index, Pig Destroyer, Criminal Element, Deadborn, Maladie and many more. After my other band Tombthroat split up last year, there was this album composed and lyrics written and I don't wanted to throw these songs away. So I was forced to search for good musicians to realize this album under the flag of a new name: GOD ENSLAVEMENT. Thus, it isn't that new but one more step on my musical way, fortunateley with such great and talented musicians by my side. I can't wait for starting to work on the second album, but first we have „Consuming the Divine“ which will be unleashed in less than two weeks...

Can't Wait for The New Album " Consuming The Divine ", Acherontic Old School Death-Grind - Pure madness with perfect, Unearthly production and There are a still lot of pieces of Blackend scattered throughout the album. Now tell us about the concept and story behind this masterpiece. The Cool story behind new " Consuming The Divine ". The story is cool and Imentioned several influences in my review. Let's talk about " Consuming The Divine ".
Thanks for your words, bro. Highly appreciated! Like all my lyrics, the lyrics on „Consuming the Divine“ are very methaphorical. This time in a way more direct way. The story behind is about the liberation from your god(s). Who or what ever they may be. Consume them to get a new and unknwon strenght for your very own spirit and use the absorbed power to become your own god by yourself. This is not only a concept of this album but one for the whole life of every human. Kill your gods to become your own god. In any way you might need. Or furthermore be a blind sheep amongst deaf sheeps and pray to (your) god, which is enslaved since his own creation....

I wonder how's the interest from the underground Metal media before release? How did the reviews turn out? How many interviews have you answered and how's the response for " Consuming The Divine " from the media and the fans up to now? How long did you orgasm last when the new album was released?
Well, the release is in two weeks. We got not many reviews so far, but all of them are overwhelming. Seems, that people needed such a album between all that so called Death Metal which is not brutal, harsh or whatever Death Metal has to be. The scene is softened to the core, but there are still enough people who know, what Death Metal and Grindcore really are: a fist into your face and a steel brush on your flesh.  I did two interviews so far, but I guess there will be some more when the album is released. We'll see...

An excellent album that should be heard. If you really consider yourself a metalhead, give this band a try. and how the process of making this new material? whether all members are involved in every writing music?
Nope, not really so far. Most of the songs are composed by myself. Adam brought his great ideas to it and Vincent did his own vocal lines. One song was written by me and Mark from the great Band Spheron and one song is written by Déhà. But in the future all of the guys will be involved in the songwriting process and I am really looking forward to this! That will refresh my style of Death Grind, I am sure about that.

What is the special thing with GOD ENSLAVEMENT? Acherontic Old School DeathGrind? More Darkened Material? Or is it much more? How much material overdubbing and harmonization do you do in the studio? Is layering a necessity for the GOD ENSLAVEMENT formula to work properly?
The special thing is only following: This music comes from the depth of our hearts. What you can here on this album, is what we call Death Grind. Groove, Brutality, Aggression. And of course, Death Metal IS dark. You cannot compose such music if you are not possessed by the devil. How ever you might define your very own devil. We haven't overdubbed or harmonized anything. I played the guitars, then Adam played the drums, Kevin recorded the guitar solos, then Julian the bass and then Vincent did the vocals. So, you can say it was a „normal“ work as most of bands manage the recordings on their albums. For the second album we will work this way, too.

Do You guys are satisfied with the results of Stefano Morabito's work "The Divine Consuming" so far?
Of-fucking-course, we are! Stefano is THE man if you want a brutal production for your songs. Let me say that he brutalized every song with his skills in his 16th Cellar Studios. For Death Metal, he is the right man in my eyes and ears. He brutalized the last Tombthroat album, now the God Enslavement album and he will do the production hopfully of all the next Death Grind albums I will do. In which way ever this may be...

Were you Especially thinking " Drums need someone like Adam Jarvis, Vincent Matthews or I need Julian on Bass for this album?
Yepp, it was something this way. I asked Adam, because he has his very own style without showing off and forgetting about the song he is playing. His style fits perfectly with my style of guitar riffs. Julian showed me his skills on the bass some years ago when he played a show with us in Tombthroat. Tombthroat was 19 years old, but this gig with Julian was one of our very best. So it was nothing more than a law for me to ask him to do the bass for God Enslavement. And Vincent's vocals are so damn aggressive, you can´t find something like this very often out there in the Death Metal Scene. So, yes, I am really happy to have all of the guys in God Enslavement now. It is something like a dream-line-up...

And How long did it take to go from having written the music and having the idea, to acquiring all the members and getting them in studio?
Well, the songs were composed before Tombthroat quit. But from the point I was sure to do the album with a new band, everything has gone very fast. It was  faster than I expected. Adam liked the demos and asked his studio engeneer for a free date. And that was how all the guys worked. Very focused and professional.

Is this will looking forward to the next albums with these guys ?
Yeah, I am pumped to the max for everything that may come. Some of the guys are working on new ideas while I am working on new Maladie stuff. But once the work for Maladie is done for the new album, I will work on new ideas, too. So, we can be able to record the second album soon, haha. But we will give „Consuming the Divine“ the time it needs for sure.
 

I'm Surprise with worship old school Death-Grind for this album, what Is this already a Trademark for GOD ENSLAVEMENT established itself from the beginning? This is in accordance with what you expected?
Yes, that is what I call „old school“ and „Death Grind“. Nowadays, the name „Old School“ is abused for shitty garage bands with no brutality and knowledge about what they are doing. For me bands like Suffocation, (old) Morbid Angel, (old) Deicide and still Cannibal Corpse and of course Immolation and so on are real Old School Death Metal and bands like Dying Fetus and Misery Index are real Old School Death Grind. And it is hard to find new bands with this old spirit.  Of course you can name styles and music however you want, but for me, it only works this way. With God Enslavement, we play brutal, dark and aggressive music. We play Old School Death Grind.

GOD ENSLAVEMENT is dedicated to the Destruction and Recreation of the current Death Metal Paradigm, and a return the true spirit of the Evolution brought to light by the vision quests of its progenitors. Please tell something about the lyrics and what they deal with? so it will take a pleasure for the listener to be able to digest their meaning. and How With " Consuming The Divine " mean?
Please go to the second question.

and in Arranging songs, whether GOD ENSLAVEMENT pressing to play more Endless heavy, blast filled anger fueled death-grind than Faster ?
Playing fast is good, but it is not everything a song needs. Even a Death Metal song needs a structure and a groove. Many bands out there are playing faster and faster and faster and forget to compose songs. Don't get me wrong, there are a bunch of very good bands out there who can play extremely fast AND play a song. But in this case, people are now going more and more the right way. People get bored by the „I can play faster than you“ shit. But in my world, yes, a good Death metal song must be heavy. If it is fast, too, perfect! If not, it could be a great song for sure.

 

Where do you think or where do you want GOD ENSLAVEMENT to be 10 years from now?
Well,I am in this scene for 25 years and I learned what it means to be an – let me call it – Extreme Metal musician. All of us have a big experience with this. So, I have no more dreams of beeing a rock star or something like this. But we want to do what our hearts tell us and if people like what we do, it is always great to know that and get response from them. It is still very exciting for us to create new music, record and release it. Thus, this is what we are and what we want to do. Playing our music in our own way, as long as we are able to do it.

Overall, it's time to come to an end now. Hope you enjoyed this interview? Thanks for answering my questions and the time you spend on them. I hope I didn't forget anything? If there's something left to say at the end feel free to use this opportunity now. You can add what you wish, I let you conclude all last word this Interview !
Yeah, thank you very much for your questions and the support with this interview. I always feel honoured if guys like you want to do an interview with me and my band. I guess there is not much left to say but: Thanks and cheers! Support the passion for the extreme and be your own god! Take care and I am looking forward to the next time, mate!

GOD ENSLAVEMENT OFFICIAL INFORMATION

https://www.facebook.com/GodEnslavement
https://godenslavement.bandcamp.com

CHECK GOD ENSLAVEMENT " Consuming The Divine " REVIEW LOSTINCHAOS (Click Cover Above)

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DANK SLAMS: The Definitive History Of Slam With Uncle Cam

DANK SLAMS: 

The Definitive History Of Slam 
With Uncle Cam

So, we know this guy. This guy, man, he gets around. Dude is THE connoisseur of all that is brutal, slammin, groovin, gurglin, and chuggin. We'll admit, this guy has some years under his belt, yet he is incredibly young at heart. In fact, the number of years corresponds exactly to the holes on his bullet-adorned belt (upward of 40 – he wears his weight well, though).

Anyway, we invited this guy to give us a REAL history lesson in slam, as dude has been jammin this shit since the late-80s. In fact, dude still lives in the 80s (hence the Stranger Things-inspired Dank Slams feature image!). While your father was still jerking off to his Tiffany and Debbie Gibson collection (Google it), this guy was around, doin his thang – trading tapes with metalheads the world over. Dude also spun pre-slam tunes for a good eighteen years over the air waves on his very own, highly-rated radio show (Chronic Aggression Radio). This guy may be as old your dad – probably even older – but he has never lost his way as it relates to this brutal, beautiful music we all love.

We introduce to you Uncle Cam: The Professor Of Slam. Heed his wise words. Take it away, Cam!

CAM: For a true lesson in brutality, let's take this all the way back to the first time my face was fucked with a growl. We gotta go all the way back to '89 and a little UK compilation called North Atlantic Noise Attack which featured both Napalm Death and Extreme Noise Terror.

North Atlantic Noise Attack - Manic Ears hardcore compilation 1987



CAM: Those blasts. The gurgles. What first drew me into death metal was that slow, grooving breakdown, followed by the abrupt stop of an insane blast-beating riff, or a thrash-tastic speed metal song then – WHAMMO – right back to slam fucking city! I get those musical goosebumps when that riff begins to crunch with a sweet drum fill before the destruction begins. I've molded my entire life after that feeling. What about that riff in Napalm Death's "Mass Appeal Madness"? This thing has got to be the first slam riff ever (check out the riff at 1:04 in the vid below). Anyway, this shit always goes back to Napalm, for me at least.

Napalm Death - Mass Appeal Madness



CAM: Let's fast-forward a little from the late 80s, and take this thing straight into the early 90s. My bros and I listened to a radio show in Toronto, which I believe was called Aggressive Radio (on 89.5 FM). If I remember correctly, this was the first avenue that opened up our young, impressionable minds to more extreme material, though most of it was relegated to Toronto and area. Less than a one-hour drive from me, we were told a tale of a record shop in Niagara Falls, New York called Cavages. They apparently had a handful of people working there that knew what was up in the world-wide heavy scene – a much larger scene than my noob head could fathom. I can recall like it was yesterday the day my friend Dan and I were heading over there to grab some killer tunes (big-box CD cases were the big thing at the time). He purchased Agnostic Front's Live At CBGB's, Incubus' Beyond The Unknown, and the now-classic Carcass album Symphonies Of Sickness.

CAM: Excited as shit as we headed up to the counter to pay for our killer haul, we became momentarily distracted by a flyer about an upcoming show. Could this be? A local death metal show happening relatively close by? We knew Cannibal Corpse was from the area, along with Malevolent Creation – heavy hitters right in our backyard – but that was all we really knew. As it turns out Goreaphobia and Grotesque Infection were on that fateful flyer. Being huge Relapse Records fans, we had heard of Goreaphobia in passing, but who were these others? I remember losing my shit at the thought of real, undiscovered brutality all within an hours drive!

Gorephobia Morbidious Pathology EP 1990



CAM: We tried to make this show happen, but we just couldn't do it. Mind you, I kept track of that store because I had to witness the cultivating of brutal-in-my-backyard, and these dudes knew what was up. I started my venture into the local scene and it all started coming up Milhouse for me. It was around this time that Home Of The Hits was introduced to us, straight outta Buffalo. This was the underground shop of all underground shops. It was here that we spotted another flyer for another death metal/grindcore show. I went to this goddamn show. I fucking had to! This one also sported the mighty Grotesque Infection, along with Infestation and Obscurity, who absolutely kill.

Obscurity - Obscurity Demo 1992



CAM: Being seventeen and hanging out with these massive, larger-than-life American death metal dudes, I was, of course, a little intimidated, but that didn't stop me from grinding my face off. Infestation were an old-school styled death metal band with thrashy moments – which I totally dug – but this Grotesque Infection? WTF. Mutherfukin WOW!

Grotesque Infection - Rotted To The Cross



CAM: This was it! This was absolutely unreal. The usual blast beats were there in spades, but this slamming groove? This was the shit. This was what I was looking for. I needed more of these breakdowns in my death metal – super-crunch guitar that chugged heavier than the donely load currently festering in your mom's arse – all with a slight double-kick flying into this mountainous groove that sent chills right through my gore-drenched heart… gimmie gimmie gimmie!

Grotesque Infection - Festering Wounds Demo 1991



CAM: The underground was my family. I dived head first into tape trading, fanzine writing, bands and so on and so forth. The underground was a wonderful place at that time. People wrote to each other sending many tapes, discs, vinyl and sharing the love for all things not found anywhere else. But I needed more of that slamming groove. I found it. I had found the birth of what we all know today as "Slam". It was right there, in Buffalo and Niagara Falls, NY, where they took that Suffocation breakdown to realms it had never dared to venture before. This included Baphomet and their The Dead Shall Inherit release from '92

Baphomet - The dead shall inherit 1992



CAM: If this weren't enough, there was the unfuckingbelievably crushing sounds of Rochester, NY's Disgorged (who later changed their name to Withered Earth, and re-released their Thy Hideous Wake EP from '93).

Disgorged - Master of the Larvae



CAM: In a similar vein as Digorged came Ritual Torment from down the road in New Jersey. I had the good fortune of catching these guys live back in the day, and still have the video from that show. I remember being crushed under the weight of sound emanating from the stage. Let's take this one back to their '91 demo,

Ritual Torment - Demo 1991



In last week's installment of Dank, we introduced you to a very special guest columnist by the name of Uncle Cam, who went on to prove why he is the Professor of Slam. Dude has been around a long time. In fact, he was destroying pits/groovin to REAL earthquake-inducing breakdowns before most of you were a glistening little deathcore kid at the end of your dad's festering phallus.

Anyway, Unkie Cam had a lot to say last week, so we invited him back to lead a second semester of slams at Dank High.

The curriculum this time around will focus on the mid '90s through to the present, with titans as diverse as Skinless, Devourment, and Dying Fetus. Uncle Cam also delves right back into the underground, and digs out some gems from Buried Beneath, Lesch/Nyhan, Mangled, Coffin Rot, Damonacy, Catalepsy (no, we spelled it right… read on to find out), among others.

Anyway, recess is over you sick little fuks! Get your History Of Slam book out, sit your ass down, and pay attention to the brutality that is about to unfold. Take it away, Cam

CAM: So, let's start today's proceedings with the mighty Exhumed, who are – and always have been – my band for insane breakdowns. That being said, before the Relapse years (pre-2005) is an entirely different ballgame. Listen to the first minute of their amazing 7" Excreting Innards that dates all the way back to '92.

Exhumed - Festering Sphinctral Malignancy



CAM: Another killer outfit based out of Rochester, NY was Buried Beneath. They had the satanic imagery but – holy muthrfuk – their tunes meant so much more to me then that. Check it.

Buried Beneath - Creed Of The Unholy Spirit 1992 demo#1



CAM: What really got me was this little grinding death metal band from Pennsylvania called Lesch/Nyhan. It was through a tape trading friend (Justin the drummer from Grotesque Infection) who did a compilation tape called Grindrot that I found this little gem on. The vocals. The guitars… THOSE BREAKDOWNS! Seriously this was probably my fav album/demo/tape/band for many many years. Of course, I loved some of the big metal bands but, by this point, it was Lesch/Nyhan all day, every day.

Lesch-Nyhan - Organ Discharge



CAM: Slam? What was that? Back in those days, we still just called it death metal or grinding death metal or whatever the fuk. I'll say that the first few Cryptopsy releases had unimaginable breakdowns. Which also lead to incorporating much of the breakdown sound in some bands that I was in at the time, such as Mangled and Coffin Rot.

Mangled - Human Compost Demo 1993



Coffin Rot - Massive Sanguinary Spillage



CAM: We can't forget about New Jersey's Damonacy, who I ended up inviting to play the Niagara's Death fest (Canada) in May 93'.

Damonacy - Therapeutic Morbidity Demo 1992



CAM: Then there was LA's Catalepsy (not to be confused with Russian Slamaniacs Katalepsy).

Catalepsy - Compulsive Beastiality



CAM: These guys were a brutal foursome out of L.A., which I found on the compilation The Heralds Of Obliveon, released in '93 on Roughage Records. Another notable band from the comp was along with DECOMPOSED, who also hailed from California.

Decomposed - Angeles Diabolicos



CAM: So, this went on for many years until me and a friend , Metal Dan, began a radio show for Brock University called Chronic Aggression. Doing this show lead me straight into a whole new era of brutal. A trusted label for me at the time was Repulse Records, who had signed the incredible Imprecation. Such an amazing band, but I felt like something else was needed. It was also around this time ('97-ish) that I started getting promos from Morbid Records, which included Dead, Agathocles, and… Dying Fetus! Who the fuck is this Dying Fetus? The breakdowns found on Killing On Adrenaline were just what Dr. Slam ordered. Was this a new era?

Dying Fetus - Killing On Adrenaline



CAM: Back over at the Brock University Radio Studio, we scoured through their music library in an ongoing effort to find some killer hidden treasures. We came across a band called Rotting, straight from our very own backyard in Newmarket, Ontario. Over the following years, we became good friends with the guys, and they were later signed to a label called United Guttural Records.

Rotting - Crushed



CAM: Speaking of United Guttural Records, it was around '99 that I first acquired the internet, which allowed me to research what this label was all about. It was here where I was introduced to the likes of Devourment, Skinless, Ton, and Malignancy – all at the same time! Now THIS was a label I could get into! The next time I was able to hang with Rotting vocalist, Korey, he handed me Deaden's Hymns Of The Sick and Skinless' Progression Towards Evil. Man, that Skinless! This thing contained breakdowns beyond breakdowns, and was an album that didn't leave my CD player for many years.

Skinless - Scum Cookie



CAM: Then there was Devourment's debut album Molesting The Decapitated, which dropped in '99. Perfection. The vocals were some of the sickest sounds ever heard up to that point. How 'bout that pinging drum, or that first crushing slam riff in the opening track "Festering Vomitous Mass"?

Devourment - Festering Vomitous Mass



CAM: It was around this time that I began seeing the descriptor of 'Slam' used more and more, particularly with bands such as Eternal Suffering, Dehumanized, Prophecy, and, of course Dying Fetus. Along with the mighty DF, many of these bands are what I suppose you could call the catalyst for what would eventually become the sub-genre of slam. If this is where things were heading, then count-me-the-fuck-in! So, after about ten years or so of wondering what to call this style of brutal-as-fuck music, it turns out that what I was, in fact, an official Slamophiliac!

Eternal Suffering - Drowning In Tragedy



CAM: I'm gonna stop here, as I'm pretty sure that most of you know the rest of the story. I suppose the larger narrative to this piece was that there was a time, long ago, where brutal death metal aficionados had no clue what we were really looking for, as t here existed no rule book for this music. There was no tag applied to this music that we loved. It took hard work, and lots of research, to satisfy our lust for all things more-brutal-than-brutal. I obviously try to keep up with today's BSDM/slam, but I'm starting to get the feeling that too many bands try too hard in their quest for the ultimate breakdown – everyone trying to out slam one another. By doing so, it starts to lose feeling – what it is that made this music so special to begin with. Finding that ultimate breakdown/slam is like trying to find a needle in a haystack, but when you do come across it, man, it's like a hammer to the fucking cranium!

In the end, I don't profess to know everything that's going on – there is just way too much. I'm just a guy that was around when this shit was birthed from the feculent, deliciously rotting orifice of brutal death metal. To this day, I remain great friends with many of the bands mentioned. But, most importantly, this little romp back in time has allowed me to express how much of an impact these trailblazing bands had on me. This stuff – this time – defined who I am today. Sure, Ozzy and Maiden blew my mind as a youngster, but death metal is – and will always be – the most influential style of music to ever grace our shitty existence.

Now, slam on and be awesome everyone… and never forget the roots of this music we all love so much! It's important.

Source Posting and Article :

http://www.metalinjection.net/author/jasond
http://www.metalinjection.net/av/dank-slams/dank-slams-the-definitive-history-of-slam-with-uncle-cam-part-1
http://www.metalinjection.net/av/dank-slams/dank-slams-the-definitive-history-of-slam-with-uncle-cam-part-2

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HEISENBERG - GOOD OL' FASHION LONG ISLAND DEATHSLAM !!!

HEISENBERG - GOOD OL' FASHION LONG ISLAND DEATHSLAM !!!

Long Island, New York - From the ashes of The Forrest Gump Mile High Marathon rises HEISENBERG. picking up right where they left off, the ex members continue their assault of silly samples and death slams with a new breath of vocals! mengambil sebuah nama band dari tokoh protagonis samaran Walter White yang mengadopsinya dalam serial TV " Breaking Bad ", dari sebuah kisah fisikawan Jerman Werner Heisenberg. memulai geliat eksistensinya pada tahun 2011 oleh gitaris Brandon Moran (ex-Burn Them All, ex-The Forrest Gump Mile High Marathon), kemudian bassis Thomas, Vocalis Jay Brooks dan Drummer Tim Schmidt (ex-Praeter Morte, ex-The Forrest Gump Mile High Marathon), tidak lama berada posisinya, tahun 2012, Bassis Thomas mengundurkan diri dan tergantikan oleh Billy Haiduk (Splattered Entrails, ex-Ellery Park) disusul kemudian tahun 2013 Vocalis Jay cabut dan digantikan oleh Paul McGrath,(ex-Two Shells Left) nah dengan formasi inilah, Heisenberg berhasil memuntahkan Debut EP Independen perdana " Heisenberg " yang digarap di Full Force Studio, Long Island, New York bareng Enjiner Joseph Cincotta, atau yang lebih dikenal sebagai Joe Cincotta (Catastrophic, Criminal Element). menyuguhkan 8 track hampir berdurasi 19 menit kejutan khas NYDM pengusung mereka sebelumnya, Internal Bleeding & Pyrexia. " GOOD OL' FASHION LONG ISLAND DEATHSLAM !!! ". menunggu jeda yang lumayan melelahkan, akhirnya, 20 Januari 2017 menjadi akhir penantian mereka kembali melepaskan debut EP Ke-2 " The Empire Business "via Amputated Vein Records, dengan materi yang semakin menjanjikan lagi, Heisenberg menggunakan jasa pemukul drum populer Kevin Talley untuk meramu Fill Drum kit nya setelah Heisenberg terpukau dengan Skill Kevin masih di " Killing on Adrenalin " Dying Fetus. selain masih menggandeng Joe Cincotta, kali ini berada dibalik urusan Enjiner Bassis karismatik Derek Boyer (Deprecated, Suffocation, ex-Decrepit Birth, ex-Deeds of Flesh, ex-Disgorge, ex-Dying Fetus, ex-Vital Remains), teman-teman setongkrongan yang banyak mensupport gerakan utuh NYDM. a Straight up Death Metal vibe to their Slam which is quite Refreshing as most Slam is usually BDM based. The vocals are harsh and growled and pack a serious punch

HEINSENBERG Official Information

https://www.facebook.com/heisenbergNY
http://heisenbergny.bandcamp.com
https://www.instagram.com/heisenbergband

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