Sarpanitum, the UK titans of brutal-blackened-atmospheric death metal (you know it has to be interesting when the sub-genres requires multiple dashes) have a big announcement for all the listeners and labels out there.
The mythological crushers have completed mastering their second full-length, Blessed Be My Brothers, with a rough release date set for the next six months. Frequent TDM visitors may remember Sarpanitum’s 2011 EP Fidelium, which garnered a great deal of attention due to its experimental yet pulverizing style and historical subject matter. Auditorily, their music combines earthy brutal death metal from the emptied halls of forgotten deities with ethereally transcendence via blackened technical extremity. The closest comparison, minus Sarpanitum’s blackened tombs, could be Mithras, probably slightly owing to drumming, recording, mixing, and mastering from Leon Macey (who makes up half of the latter mentioned cosmological death metal band.) These elements result in a tapestry of death metal unlike any other. Continue reading ATTENTION FANS AND LABELS! Sarpanitum Completes Mastering New Album ‘Blessed Be My Brothers’→
Anyone familiar with Decrepit Birth albums knows that the drum performance of these top tier brutal death metallers is of the highest quality and complexity. Technical precision like that requires, quite frankly, better skills than most drummers in modern music. That being said, a project from LIVE drummer Gabe Seeber is certainly worthy of the attention of the technical underground, if only by association with such virtuosity in percussion alone.
The second full length from The Kennedy Veil, Trinity of Falsehood , was released on January 21 by Unique Leader Records. On their Facebook page the Sacramento four-piecedescribes their style as “No throwbacks, no breakdowns, no wanking, no trends. Modern American Brutal Death Metal!” An apt description indeed.
Trinity of Falsehood, along with the 2011 release The Sentence of their Conqueror, can be streamed and purchased (for 10$ and 6$ digital purchase, respectively) at The Kennedy Veil’s Bandcamp page.
Check out “Enslave.Defile.Erase.” below for a quick sledgehammer to the face:
Techdeath titans Origin have announced, via Facebook, that guitar tracks are currently in the works for their sixth full-length Omnipresent. After the expulsion of fury that was 2011’s Entity, the death metal world is eagerly awaiting, yet simultaneously unprepared for, the cosmic destruction set to be released sometime in 2014 via Nuclear Blast (pun intended). As a point of further interest, this record will be the first to feature new vocalist Jason Keyser; death metal fans may recall his past work with Skinless on Trample the Weak, Hurdle the Dead.
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And I have to say, with my bias completely acknowledged, Origin has the most interesting Facebook page of any band I can think of.
10.06.2013 (Krakow, Poland) Banisher made another song from the upcoming “Scarcity” album available for streaming.
“Scarcity” was recorded between 2012 and 2013 at Invent Sound Studio in Bydgoszcz. It contains 9 tracks, including a death metal version of the “Benny Hill” theme. The album was recorded in a new line-up: Tytus Kalicki – vocals, Hubert Więcek – guitars, Daniel Wójtowicz – bass and Łukasz „Lucass” Krzesiewicz (Sammath Naur, Gnida) on drums. One of the songs features a guest appearance by Wojtek Famielec (Disperse, Stunt Skunk Bang, ex-Redemptor). The cover artwork was made by Michał “Xaay” Loranc (Nile, Behemoth, Necrophagist, and Decapitated).
Yessir, that is correct, recently-returned death metal titans Cryptopsy have three new tracks available on the new compilation The Best of Us Bleed. The new songs are exclusive to this release, and are titled “Boden,” “A Graceful Demise,” and “Holodomor.” They are the first three tracks on the collection (released on November 12th through Century Media, in contrast to their self-released and self-titled album from September).
As any discerning technical death metal fan would imagine, the three newbies sound similar stylistically and production wise to the self-titled release. However, they have some parts that make them seem just a bit different, and not in a bad way, just sort of noticeable. Unlike some songs that may surface in such an occasion (I am curious about the record label situation), these songs do NOT sound like leftover tracks better discarded to the cutting room floor, and have a fair amount of identity and individuality. In fact, I quite dig them. Continue reading MORE new tracks from Cryptopsy?!→