Archive for deathcore

Suicide Silence – Sacred Words (EP)

Posted in Review with tags , , , , on 7th November 2015 by Paul Macmillan

Suicide Silence – Sacred Words (EP)
Released October 23rd 2015
Released via Nuclear Blast

Suicide Silence - Sacred Words (EP)

Although this is billed as an EP, I certainly feel more like I’m listening to an old school single. The release comprises of the title track, plus its instrumental version, remix version, and live version, accompanied by live recordings of a further two tracks – Cease To Exist and Inherit The Crown. It’s a minor detail, but I think most people have come to expect more new material from musical output in this format. I also feel that four renditions of the same work is total overkill.

The focus track itself (taken from 2014’s You Can’t Stop Me) is a good display of ‘Eddie’ Hermida’s more core oriented vocal style, which has naturally divided opinion amongst fans since the untimely demise of original frontman Mitch Lucker. The music, however, lacks some of the vehemence of their previous recordings, and, for me, it’s the live takes which lift this platter to its peak. The energy they are delivered with is akin to that on some of extreme metal’s brightest moments in concert audio recordings. The immediate comparison which springs to mind is Pantera’s Live 101. The song-writing is a different pot of spuds, but the essence and tangible energy is very similar.

As someone who was never a fully-fledged admirer of Suicide Silence, or, indeed, deathcore in general, I am quite prepared for my opinion to be called into question on this, but to a certain degree, I find the new vocalisation more fitting to their current sound. That doesn’t mean better, and it could well be the case that the music has changed subtly in order to make this happen. The truth is we may never know, but in all honesty, it has turned me on a little to a band who I never really gave much thought to in the past, and I’m not really sure where many of their old school fans have found the ammunition for hate.

If you were a die-hard fan of You Can’t Stop Me, this will most likely please you as a behind-the-scenes collector’s piece, but I would personally hold out for the next full-length to effectively sate any death-core cravings.


 Paul Macmillan

The Antiquity – A Colossal Infliction Of Hate [EP]

Posted in Uncategorized with tags , , , , , , on 6th June 2014 by Pieni

The Antiquity
“A Colossal Infliction Of Hate” (reissue) [EP]
Technical deathcore
Self-release date: 6th June 2014

 photo theantiq_zps198a4d84.jpg

I’m always a bit skeptical when I read the word “technical” – not because I doubt its accuracy but because I doubt my appreciation for it, as this kind of guys tend to throw their skills all over the place. Not these five youngsters from Scarborough, though. The Antiquity know how to excel without overwhelming you.

It kicks off with the title-track “A Colossal Infliction Of Hate”, in an old school slower-tempo, almost doom death track. Then “Quarantine” gets faster and comes forward justifying the “technical” term in their genre description, with its exquisite riff patterns. There’s a reason for “BLAST” to be spelled in capital letters in “BLASTthehorse”, as this short track is of a much sheerer violence. Enhancing their more ‘core side, “Tales Of Anguish” (my favorite) comes next. And finally “Path Of The Ascetic” gathers a bit of all of the above, entwined with some thrash metal licks.

Originally released last summer, “A Colossal Infliction Of Hate” is now being re-issued with the new singer Luther Williams and an improved production. Because the EP is just that good and it surely deserves a revamped second round.

4,5 / 5

Renata “Pieni” Lino

Whitechapel reveal chart numbers for “Our Endless War” and release new video

Posted in News with tags , , , , , on 17th May 2014 by Pieni

 photo whitechapel_zps671b70eb.jpg

Whitechapel‘s fifth studio album “Our Endless War” saw the light of day on April 29th and made a quite successful way to several charts. Here are the numbers:

Billboard Top 200 Chart: #10
Billboard Top Independent Albums Chart: #2
Billboard Hard Music Albums Chart: #1
Billboard Rock Albums Chart: #2
iTunes (Release Day) Top 200 Current Chart: Peaked at #13
iTunes (Release Day) Rock: #1
iTunes (Release Day) Metal: #1
Canadian Top 200: #23
Canadian Hard Music Chart: #4
Canadian Top Digital Album Chart: #21
Canadian iTunes (Release Day) Top 200 Current Chart: #11
Canadian iTunes (Release Day) Rock: #1
Canadian iTunes (Release Day) Metal: #1
German Media Control Charts: #50 (First Time on the German Top 100)

“Thank you to everyone who supports us and has supported the release of Our Endless War. Without you, this record would have not been possible. We’ve worked so hard to get where we are and it’s crazy to say that Our Endless War is our 5th studio album. Thank you for paving this road for us and continuing on the journey that lies ahead!“, were the heartfelt words of singer Phil Bozeman, to which guitarist Alex Wade added: “We could not be more excited to announce that Our Endless War has been our most successful charting release of our career. We are unbelievable grateful to our fans who pre-ordered and bought the album first week, without their support we would be nothing. This will be a special album in the Whitechapel catalog, and we cannot wait to see where it will take us in the future!”

Also, after the lyric video for the title-track, Whitechapel have now released a live-footage video for it:

Whitechapel online:

Carnifex post Condemned To Decay guitar lesson online

Posted in News with tags , , , , , , , , on 6th March 2014 by Nico Solheim-Davidson, the North Sea Poet

Deathcore behemoths Carnifex have recently posted a video online of guitarists Jordan Lockrey and Cory Anford demonstrating how to play Condemned To Decay, which is taken from the new album, Die Without Hope. The tutorial can be viewed below.

Die Without Hope was released on 3rd March 2014 via Nuclear Blast, both physically and digitally.

Carnifex online:

Enhanced by Zemanta

Carnifex – Die Without Hope

Posted in Uncategorized with tags , , , , on 27th February 2014 by vmteam

Die Without Hope
Released 7th March
Deathcore/Death Metal
Released via Nuclear Blast

Carnifex - Die Without Hope - Artwork

As a person with minimal interest in Deathcore or any similar sub-genre, I thought it would be a dreary task to review an album that I didn’t think would be any different from the rest. Many might say that I jumped to conclusions way too quickly, they would all be correct.

Carnifex are one of the few bands of 2013/14 that have evolved in a truly infinite way. Having being criticised for being a Suicide Silence copycat in their early years, they have since matured and developed into something unique and unrelenting. I am quite simply astounded.

Upon first hitting the play button I was greeted with an ominous and haunting intro sample (which is always welcome) and Scott Lewis’ voice which comes bellowing through the speakers with the title of the opening track Salvation Is Dead. This is a fantastic choice for opening an album, quite simply because this particular song demonstrates and boasts Carnifex’s true inspiration and growth as songwriters. The main guitars have almost streamlined and simplified but give a clearer indication of what they are about and what direction they want to go in, however, the songs as a whole have been filled to the brim with surprises and breath-taking guitar solos which I would never have anticipated in a Carnifex album.

My personal favourite is Dark Days. This track really shines in terms of growth and citing their inspirations on their sleeves, is just truly incredible and I have not even started on the new production yet.

Signing to Nuclear Blast is the best move they have made. Their production has improved tenfold. The drums are twice as thunderous but still crisp, the new clarity in the guitars and bass is so much more gratifying than on previous productions and the vocals are just simply incredible. This album is a MUST for 2014.

Carnifex are here!


Paul Maddison

Carnifex online:

As We Collapse’s “Golden Heart” to be released this Friday

Posted in News with tags , , , , on 8th December 2013 by Pieni

 photo goldenheart_zpsbb0b2911.jpg

Swedish As We Collapse don’t believe that Fridays 13th are unlucky days: their debut single “Golden Heart”, which originally would be released in January, will be available on Spotify and iTunes this Friday, December 13th.

The two teasers for the song, one instrumental and a smaller one with some vocals, have granted As We Collapse more than 900 likes on Facebook:

Martyr Defiled release video for new track “Infidels” and announce UK tour

Posted in News with tags , , , on 10th September 2013 by Pieni

 photo Promo_shoot_for_Martyr_Defiled_zpsa9c1c757.jpg

Deathcore Martyr Defiled have just released a new single and video for “Infidels”, which the band considers to be their “heaviest and most angry song, both lyrically and musically”.

A month before, Martyr Defiled anonymously launched, where videos would show sensitive images and ominous sentences, to the sound of quite disturbing noises. The icing on the cake would be a countdown clock, ending on 9th September at 7pm, leading to 25 YouTube conspiracy videos, talking mainly about another terrorist attack on USA. More important than that, the site achieved the 500.000 hit-mark.

Now that the video has been released and the mystery unveiled, the band says: » We decided to reflect this in the subversive viral campaign that we used to promote the release of the song – through It started as a simple idea, a bit of shock tactic and dramatisation of current events, but became something much more relevant to what Martyr Defiled stands for – we’re p**sed off, and everyone else who’s p**sed off can identify with what we’re trying to say. The video is symbolic of this also – we are all infidels in our own way, and by being forced to wear a balaclava we become the faceless majority that is tired of putting up with your sh*t, and we’re not gonna stand for it any more.«

“Infidels” is available to purchase now as a “Name Your Price” digital download:

For Further Info check:

Also, supporting Capture The CrownMartyr Defiled will be playing 6 shows on the following dates:


Necrogrinder – The Bunty Man

Posted in Review with tags , , , on 20th July 2013 by izaforestspirit

The Bunty Man
Released 28th June 2013
Brutal Deathcore/Grindcore
Released via UKEM Records

 photo thebuntymancover-scaled_zpsdf9706f9.jpg

‘The Bunty Man’ is the debut album from the Sheffield-based British deathcore band Necrogrinder. It is the follow up to their 2010 EP ‘Mangled Fetus Insertion’.

Now, let’s face it; with a name like Necrogrinder and songs titles such as Chainsaw Brainsore, you can pretty much guess what type of music you’re in for. This could go one of two ways: it’s either going to be some brutal, Cannibal Corpse-esque death metal or death/grindcore. Well, this is definitely the latter and according to their official biography, Necrogrinder’s music is likely to appeal to fans of Gorerotted and Cock & Ball Torture.

If it’s “brutality” and guttural vocals you’re after then this album has those elements in abundance. The songs don’t tend to differ much from each other. They all follow a similar formula of croaking/squealing vocals, blast beat style drumming and fast, down tuned, grindcore style guitar riffage. Creepy Crawly is an exception that makes the rule, as it features the Machine Head style high pitched guitar riffs and even an attempt at a solo. At least some variety, though not quite enough to redeem the album.

Then there’s the aforementioned Chainsaw Brainsore, the shortest track on the album offering less than two minutes of pummeling and guttural vocals. You deserve a medal if you can actually make out a single word this guy is uttering.


Iza Raittila

Sea of Giants – The Greater Good

Posted in Review with tags , , , , , , , , on 3rd July 2013 by Nico Solheim-Davidson, the North Sea Poet

Sea of Giants
The Greater Good
Released 29th June 2013
Northern Deathcore
Released via eMortal Records

Since 2011, Sea of Giants have smashed their way through the Yorkshire scene, support acts such as Dead Harts, Grader, Giants, Sirena, Annotations of an Autopsy and more, becoming one of the hardest working bands in the East Yorkshire area. Hailing from the sea battered town of Bridlington, the five piece band already have two releases under their: Into The Deepest Depths and Northern Idols. The Greater Good is the third addition to the band’s career thus far.

Rehabilitated opens the EP before launching into the threatening and crushing track Reality North. Frontman McGougan’s vocals dominate the song, exchanging heavy handed blows with the combative use of riffs, provided by Mangan and Axup, and warlike rhythm sections. Every Wave wanes in the raw, primal energy that was offered up in the previous track but supplies some of Barlow’s most destructive bass work. Trenches rushes in like a bull in a china shop but provides a new dynamic on the band’s already cumbersome sound.

Changing Colours is too short lived of a track and has more potential if it were a longer song. Nevertheless, it still embodies Sea of Giants’ most staunch elements as well as some memorable clean vocal lines towards the end. Seasick starts up with a noticeable hook, reeling the listener into a storm of furious riffs and raging vocals. The lyrics add a very personal and emotional touch to the music, which blends in magnificently with the melodic licks and screaming rhythm passages. The calm, melodic section creates a whole new atmosphere and sound – one that keeps the song fresh.

The Greater Good is definitely a milestone that Sea of Giants have reached and displays the band’s evolution since starting up two years ago. Whilst it may not be everyone’s cup of tea, it shows what the Yorkshire quintet have to offer and why they’re one of the best acts on the northern circuit.


Nico Davidson

Sea of Giants online:


Before My Damnation – Drowning My Daughters

Posted in Review with tags , , , on 3rd April 2012 by Demolithia

Band: Before My Damnation
Album: Drowning My Daughters

Release date: Late 2011
Genre: Deathcore
Label: Self-released 

There are metal bands popping up all around the world now and then. Some of them pass by so quickly you have forgotten most of them seconds after one took notice of them, while other configurations remain so unforgettable that it seems their conceptual metal sound indoctrinated into the range of blood as a poison. One act that falls into the later category is the progressive deathcore dossier Before My Damnation, released their debut EP Drowning My Daughters in late 2011.

Actually it would suffice with the description as it appears on the band’s Facebook page “Brutal but stylish,” what this dynamic subject matter is concerned, it’s technically pretty superbly designed death metal with the specific “northern sound” which among other things found in Soreption, AEON, that emerges quite strongly in this deathcore band consisting of five youngsters: Johan Söderström (Vocals), Gustav Hallström (guitar), Mattias Asberg Gencturk (guitar), Simon Still Farm (Bass) and Benjamin Martinsson (drums). Even fragmentally flooded the streets of loops you’ve heard before, it is mostly like a breath of fresh air as wines by the dynamic structure. The album was recorded at Empire Studios in June, 2011, led by Marcus Edvardsson, which was responsible for mastering etc. Summary Summarum – this album is a killer overloaded with dynamic eargasm sound!

The heavy fast and furious sound that appears in the ljudbilden is overwelming and “it just makes me wanna die”!


Demonlithia Blackheart

Whitechapel – Recorrupted [2011]

Posted in Review with tags , on 2nd December 2011 by corvusofmorlich

Band: Whitechapel
Album: Recorrupted EP
Release year: 2011
Genre: Deathcore


It all starts off well – industrial noise and distant drums, before a screamed out line that lets out the power of the band.

Chunky triggered bass drum pounds, meaty guitars and a wall of bass smashing through breakdowns every few seconds is probably the best description of the first song. Some old school death metal influences are obvious when you focus on the vocal rhythms and the frequent chaotic drum and guitar sections but, musically, most of the first song hints at the more modern approach to metal –breakdowns and repetition. The riffs are simplistic and nothing much stands out. This definitely isn’t a bad thing, though, as the song was clearly designed to just be one of those that you stick on to smash some things up (and maybe have enough time after to look at some more holes to put in your ear). A decent song, I guess – not normally my thing, but I can appreciate it.

The next song is a cover of “Strength Beyond Strength”. Things picked up for me when this came on, despite me not liking Pantera. The song starts briefly, with a fast riff before everything joins in with immediate vocals. Everything feels a lot faster than in the first song. The changes in rhythm at the end of certain phrases make this song a lot more listenable and varied. The song breaks for a slow guitar riff to be played before there’s a bass drop underneath everything coming in for it all to plod steadily in a totally headbangable/nod-able section, which was sexy as hell. The bass drum is chunky and really punches you in the stomach. The drums pick up with some blast beats, which get totally wasted, because of the disappointing lack of guitar riff variety. There’s a slow, evil solo that comes next, though it’s very simple – too much for me to really call it one – more of just a little melody, but it sounded good. The song then speeds up with a nice flicker of blasts before leading the song out with some nice layered screams. A fantastic cover – totally improved the song for me and it’s probably the best song on the disc. As with most of As I Lay Dying’s release that I reviewed last month, it’s just a shame that it can’t be called the band’s work.

The next song was titled “Breeding Violence (Big Chocolate Remix)”, but I renamed it so I never had to read it again. The song mixes the industrial style dance music with the band’s own genre and it doesn’t sound too different to their original stuff. Okay, there’s a lot more sub bass and there’s a lot of playing with the fact that the song is in stereo, but it’s not too much different – all the music is the same and there, it’s just a little more cut up.

The penultimate song is “This is Exile (Ben Weinman Remix)”, the intro of which is actually good – dark, creepy and atmospheric. This is instantly ruined by a terrible guitar tone – it’s overly fuzzy and distorted, it’s ridiculous! There’s some screams before the drums come in – the low end of EVERYTHING is boosted, giving the song quite a warm coating, with the snare and hi hat sounds cutting through pretty darn well. The song goes quiet for a short break that continues that strange theme that the intro started – children’s voices and whirs in the background. All swiftly fades to let it all jump back in suddenly. This remix totally fits the original song and this new direction together really well, I must say. The second best song on this release.

Lastly, it’s “End of Flesh (Acoustic Version)”. It’s actually quite pleasant to listen, despite the chord sequences being dark. I think the bright and fairly clear tone of the acoustic guitars take the evil side of things away. The playing was quite human – natural buzzing being left in, etc. I really enjoyed the fact that it wasn’t completely perfect – it felt nice to listen to – almost as though it was being played for you. I’m also extremely glad that there wasn’t anything else going on apart from those guitars; I feel as though it would have removed the atmosphere and ‘live’ feeling of the song.

Overall, the same thing that I said about the As I Lay Dying EP applies here – there’s a fair amount of decent stuff here: the cover and the second remix are definitely the best tracks here, but they can’t be completely tied to the band, as it wasn’t entirely their work. The acoustic song worked really well as an outro after the madness that came before it, and it was a good choice to have it on there. It sounded good, too.

Overall, it was similar in terms of its negative attributes, to the AILD EP, but had even less material on it. Granted, it’s not a full album release, but the songs that were good on this were a lot better than the ones that were on the AILD one and that just made the lack of more material a lot worse.


Reviewed by Jobe Robin (Corvus of Morlich)