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Witch Vomit’s two previous releases, Abhorrent Rapture and Buried Deep In A Bottomless Grave, solidified and elevated their position as one of current US death metal’s most potent and direct sources of expertly crafted cacophonous carnage. With a methodically relentless fervor and merciless aggression Witch Vomit have carved out a formidable reputation for barbarism with hooks so catchy they rend flesh from bone.

On new album Funeral Sanctum, Witch Vomit expand the dark melodicism buried within the butchery of past releases, now sharpened into black obsidian and causticly fused with the band’s hallmark brutality. The DNA within tracks such as “Blood Of Abomination” and “Dominion Of A Darkened Realm” invoke not the upbeat harmonies one hears in typical melodic death metal, but something more akin to the demonic evil might of early Dissection, gleaming in frozen darkness. The gore-soaked USDM ferocity remains the rotted core of the band’s foundation.

Witch Vomit’s dominant stretch of dynamic evolution within the scope of their concentrated stylistic framework has reached a new pinnacle with Funeral Sanctum. The album’s intense focus and ceaseless riff storm unleashes a wave of bloodfreezing gratification carved with permanence into the blackest depths.

fter the reckless barbarity of 2017’s Poisoned Blood 12-inch, Portland’s Witch Vomit dig deeper into the ground than ever before, disinterring Buried Deep In A Bottomless Grave, their second full length torrent of skullbashing wormridden horror from beyond. On this new album the band moves toward perfecting the surgical fusion of the driving Scandinavian-style violence and subconscious terror they’ve previously established, and a now gore-obsessed smashing of their American forbears. Subtlety is abolished for savage attack, imprinted on the listener’s withering mind like an impulsive stab to the throat from a crazed stranger, while all the while a dreadful sense of eerie melody rings throughout the album. With the permanent addition of second guitarist C.L., Witch Vomit achieve heightened levels of primal regression and blood-soaked madness. Buried Deep In A Bottomless Grave is a deadly addition to their growing catalog of atrocity.

Blood Red

After the reckless barbarity of 2017’s Poisoned Blood 12-inch, Portland’s Witch Vomit dig deeper into the ground than ever before, disinterring Buried Deep In A Bottomless Grave, their second full length torrent of skullbashing wormridden horror from beyond. On this new album the band moves toward perfecting the surgical fusion of the driving Scandinavian-style violence and subconscious terror they’ve previously established, and a now gore-obsessed smashing of their American forbears. Subtlety is abolished for savage attack, imprinted on the listener’s withering mind like an impulsive stab to the throat from a crazed stranger, while all the while a dreadful sense of eerie melody rings throughout the album. With the permanent addition of second guitarist C.L., Witch Vomit achieve heightened levels of primal regression and blood-soaked madness. Buried Deep In A Bottomless Grave is a deadly addition to their growing catalog of atrocity.

Returning with their third scathing blast of profane black death metal, England’s Wode now join with 20 Buck Spin to unleash ‘Burn In Many Mirrors’, their most potently wild and predatory work yet. With six new tracks spanning 40 minutes of meticulously summoned infernal ferocity Wode scorch the landscape and drape it in the foul reek of death’s fog.

 With four standout albums over the course of the last eight years, the effect of Vastum’s influence has by now seeped out onto the wider underground death metal scene, leaving an indelible mark due to their singular amalgam of aural primitivism and aesthetic originality. Their most markedly refined and tortured oblation to date, Orificial Purge represents the dominant return of Vastum, a death metal band founded on the lived experience of mutilated minds and bodies.

• Acclaimed death metal band includes members of Acephalix, Necrot, Ulthar, Mortuous, Ionophore, etc.

• One of two simultaneously released new albums by Bay Area surreal blackened technical death metal band
• Each album cover is half of a larger original piece created for the band by Ian Miller (Stormkeep, Bolt Thrower, Games Workshop)
• 2020 album Providence was widely hailed for its unique style of death metal
• For fans of Atrocity, Enslaved, Gorguts, Demilich, Krallice, Voidceremony, Tomb Mold, Suffering Hour

• One of two simultaneously released new albums by Bay Area surreal blackened technical death metal band
• Each album cover is half of a larger original piece created for the band by Ian Miller (Stormkeep, Bolt Thrower, Games Workshop)
• 2020 album Providence was widely hailed for its unique style of death metal
• For fans of Atrocity, Enslaved, Gorguts, Demilich, Krallice, Voidceremony, Tomb Mold, Suffering Hour

After releasing three albums in three years and then spending the next four in the wilderness, Tomb Mold has been reborn on fourth album The Enduring Spirit, a thoroughly unabashed step into vast new territories. Yet for all its frenetic daring and audacious exploration, it is never anything other than unmistakably Tomb Mold.

While the expanding Tomb Mold architecture could be heard on last year’s self-released Aperture Of Body tape, it comes into clear focus throughout The Enduring Spirit. Certainly Derrick Vella’s time creating within and expanding the doom genre in Dream Unending has seeped into the flesh of Tomb Mold, not to mention Payson Power and Max Klebanoff’s explorations in their own Daydream Plus project.

With album opener “The Perfect Memory (Phantasm of Aura)” the band’s angular dimension shifting riffing appears right out of the gate as the track travels through varying degrees of progressive death metal and some of the band’s most extreme material yet. “Will Of Whispers” enters with a jazz-like fantasy sequence before careening into a blinding white light barrage, tasteful guitar leads and back to a dreamy serpentine pattern, encompassing whole universes in its nearly seven minute run-time.

(..)" ma è l’intera tracklist a rivelare il rinnovato spessore artistico dei canadesi; la conferma inesorabile della loro maturazione arriva proprio ascoltando il disco nel suo insieme, nel cui sviluppo il gruppo riesce nell’impresa di catalizzare mood fondamentalmente classici senza mai cadere nella trappola della prevedibile derivazione, sfoderando riff esaltanti e pillole di vero ingegno a cadenza regolare. Smisurata passione e un indubbio background da veri death metal fan completano il quadro. I Tomb Mold sono diventati grandi.(..)

taken from Metal Italia

After six years in deathlike repose, Predatory Light returns. From beneath churchyard stones, the bare, ruined choir sets forth to drape the world in its nocturnal lightings. Once again established in the spiritual desert of the southwest, the devil’s quartet has been reanimated by the same infernal regents that compose the deadly Superstition. As a result, the four musicians that conceived ‘The Anatomy of Unholy Transformation’, in Predatory Light, delve into far bleaker corners of their dark twisting subconscious. “Death And The Twilight Hours”, the second album from Predatory Light is comprised of four towering mazes of infernal technicality, ancient evil, and eerie church nightmare Black Metal of the South European and South American style. These four hymns conceptually meditate on the triumph of death during times of plague, focusing on the psychological terror and rapture of humanity’s impending doom. Borrowing imagery from Boccaccio’s account of the plague in his native Florence and inspired by Lucretius’ record of the Athenian Plague, Predatory Light explores the historical mindset of human sin and torment- evoking the archetypal personification of death as it tethers human consciousness to the realm of earthly suffering. The sinister, spectral guitars that drift like cemetery mist over everything and beckon for release tell the story on “Death And The Twilight Hours” as much as the scathing diseased vocals guiding the path. Now resolutely ascendent, Predatory Light’s return heralds the second coming of one of US black metal’s immense outliers.


 

MYLINGAR Döda Själar LP, is the third chapter in the Döden trilogy