Archive for death metal

Obtruncation: Abode of the Departed Souls

Posted in Death Metal with tags , , , , , , on December 22, 2014 by Badass and Grim

So for my first adventure into the B&G abyss we have the Holland based band Obtruncation with their offering ‘Abode of the Departed Souls’. Sounds like a cheery one then! So with a name that sounds like you’ve just detached yourself from your gentleman sausage, Obtruncation are the Death Metal flavour of kool-aid.

Time for a little history lesson about the band. Obtruncation was formed in 1989 in the Rotterdam area in Holland. Within no time they established a reputation among the fastest & most brutal bands of the underground death metal-scene. Early 1991, Lawrence Payne (Phlebotomized) joined OBTRUNCATION and added one of the most intense growling vocals ever heard. In 1999 the 12 track Obtruncation debut full length was released on a small Dutch underground label.

Right enough fannying about, let’s fire up the jukebox and see what devastation this baby can cause. Press play and boom, straight in. Hits you harder than your wife in that domestic abuse case. Well this is certainly Death Metal. Thick scooped down tuned guitars, bass that rumbles the very bowels of the earth, and enough blast beats to give war veterans shell shock all over again. The vocals have that Cannibal Corpse mix of low bowel curdling growls and higher screams like you’ve just stubbed your toe. The style reminds me of a mix of early Morbid Angel, Deicide and Death. Classic 90’s ferocity, and it works.

Forgiveness is not a word these fellas comprehend. Relentlessly punishing you with each song harder than the last time time you visited your favourite sex dungeon. The second half of the album is where it really grabs me. The songs open up a little more to include more groove which gives you something to attach to before it is dragged away. The contrast in changes in these latter song give them a greater sense of individuality, whilst the constant barrage and pace of the first few tracks makes them somewhat interchangeable.

Two stand out tracks for me are Slitting 16 and Callous Concept. Slitting 16 has a drudgy groove to the start which rears it’s ugly head throughout the rest of song to give you lifeline between barrages of blast beats and quick guitar lines. Callous Concept has the most memorable riffs of the album, with more melodic Death-esque single note lines.

Performance wise the band is as tight as a nun’s chuff and cohesive. You do get the occasional instance where the musicians fall ever so slightly behind the beat. The key part to take from that last sentence is that you can hear musicians. The record has the sound of people actually playing on it instead of some clinical cut and paste job. And hey, this shit is hard to play, so if at the end of each track I can envisage the band prolapsing through exhaustion then all the better for it.

The solos are exceptionally well played and sit as a nice embellishment to the rest of the track instead of being over indulgent fret wankery. These seem natural to the songs instead of being shoe horned in to defend the guitarists lack of manhood.

The production of Abode of the Departed Souls is definitely not big budget. More of a small or project studio, but hey times are tight. Whilst this is easily apparent in the mix, it does not distract from the songs themselves and it gives it that raw, aggressive, underground edge which actual suits the music style.

In an poor attempt at a conclusion to accredit my writing skills, I would have to say Obtruncation have overall produced a good, solid second album with Abode of the Departed Souls. Tight, cohesive and relentless. A fine example of the more visceral side of 90’s Death Metal. Whilst not genre defying, or jumping out and grabbing my attention as much as some modern bands, it does sit well among it’s peers of a higher stature. If I woke up hungover on a Christmas morn with this in my stocking would I be displeased? No. With every listen I pick out some new nuance so it’s definitely worth multiple listens. But hey, don’t take my word for it. Go out and sample it for yourselves. Make your own opinions. You’re a grown up now, just don’t make a mess.


Rating – 7.5/10


B and G Podcast – Episode 5

Posted in Badass and Grimness Podcast, Classic Metal, Death Metal, Hard Rock, Heavy Metal, Interview with tags , , , , , , , , , , on February 2, 2014 by Murderdeth

B and G Podcast – Episode 5

Greetings from Grim Towers!

This week features, Spreading the Disease by Anthrax and Into The Dark by Ancient Ascendant. Thanks also to this episodes guest Chris Kenny of Incinery.

Please remember to subscribe on iTunes and follow on Twitter. Other social networks are available, links can be found below!



Photo on 01-02-2014 at 19.34

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B and G Podcast – Viking Special

Posted in Badass and Grimness Podcast, Black Metal, Blackened Death Metal, Cake, Death Metal, Folk Metal, Heavy Metal, Pagan Metal, Prog, Viking Metal with tags , , , , , , , , , , , , , , , on August 14, 2013 by Murderdeth

B and G Podcast – Viking Special

From the Havamal –
Has too often
Been praised by poets.
The longer you drink
The less sense
Your mind makes of things.

That pretty much sums up the following.

It’s been a long, long time coming but here it is in its full, glorious 90 minutes….

“The Badass and Grimness Podcast, Viking Special.”

Featuring: Bathory, Amon Amarth, History Channel’s “Vikings”, Tyr, Wardruna and three progressively drunken idiots!

Not Featuring: Unleashed, Windir, Burzum, Arkenham and many others.

Thanks to JMG for joining us on this one. You can find him on twitter @jmgcreative.

Please remember to subscribe on iTunes and follow on Twitter. Other social networks are available, links can be found below!



Photo on 29-06-2013 at 22.07 #3

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Dead Awaken – Where Hope Turns Dripping Red

Posted in Death Metal with tags , , on June 15, 2013 by Badass and Grim


First order of business, “Where Hope Turns Dripping Red” is a great name for a great Death Metal album. You know exactly what you’re getting involved in. Secondly, this cover art is awesome, the font and image look like a fan mod for The Ultimate Doom, Wolfensteining it up with a spawn in the middle of WW2 with commandos and those weird shit coloured Imp things hunting you down with a furious salvo of 16bit devastation.

I shit you not...

I shit you not…

This is a near perfect, no bullshit execution of the death metal sub-genre. Each and every track on this album is a lesson in the blood splattered art, flowing seamlessly through blast beat intensity to neckbreaking groovefests and machine gun tight rythm delivery. Particular stand out points as follows: “Kingdom of Damnation” adds a sparing yet complimentary use of D-Beat which creates a welcome rythmic shift from the 4:4 double kickdrum, and gives the latter more impact when it does kick back in. “Deutsches Afrika Corpse” sums up everythings that is great about this album in it’s first minute, (Killer Riff – Brutal Gut Destroying Blast – Wyldesque heapings of Pinched Harmonics – Unstoppable Groove Machine). “Rocket Symphony” is a well placed mid-tempo effort with slow march riffs providing some gnarly relief from the more fast paced songs flanking it. There is no compromise here with complacency and over indulgence, no filler; these songs are so dense with quality material its like a pepperami constructed from prime veel, Ingredients: 200% industrially condensed blindly shrieking taste sensation. This holds true as much for the album as a whole as for individual tracks, clocking in at around 34 minutes it never outlasts its welcome and holds up after repeataed plays.



I’m finding it difficult to find anything critical to say about this release, the mission statement seems to be to carpet bomb the aural tracts of anyone who happens to be in the sonic vacinity, and essentially what you’re left with is a decimated firestorm where your ossicles used to be. “Where Hope Turns Dripping Red” is a living corpse that will throttle you to death with its gore caked talons.






Metal Eurovision 2013 – Part One

Posted in Black Metal, Death Metal, Sludge, Thrash with tags , , , on June 9, 2013 by Badass and Grim

It’s been that time of year again, when countless screaming wannabes and several metric tonnes of glitter and sequin have been poured into a studio and left to simmer for two weeks in a bid to show everyone how lovely Europe can be when we’re singing and not kicking the shit out of each other or hunting cats for food. However, despite the best efforts of strange falsetto-singing Romanians and Thor in a dinner suit, it turns out that several people around the globe quite like kicking the shit out of each other and hunting for, if not cats, then at least the nearest bar. This is the B&G metal version of Eurovision, with enough grind, death, thrash, stoner, doom and black metal to drown out the sound of next door and their skinny-gin-and-tonic caterwauling. There’s a band for each country that entered this year’s spandex-fest, some of which you may have heard of. Some are resurrected, some no longer around, but in the fashion of the original show, hopefully most will be new to you.


Gverr – Sprained Instinct (prog-death)

First up are Albanian band Gverr, purveyors of prog-death and tasty basslines. Formerly known as Trout (?!), they blend an intriguing mix of old-school death and thrashiness with compelling guitar solos. Taken from their 2010 album, nothing has been heard from the band since 2011. Shame really!


Bokrag – Mental Sickness (death/melodic death)

Armenian metallers Bokrag bring at first a slightly more brutal flavour of death metal, with ample technicality and catchy riffs. Rasping vocals courtesy of Alex Amiryan lend a more sinister edge to it than conventional death growling, but the melodic section is quite surprising after the initial fast pace of the first few minutes.


Ellende – Von Vergänglichkeit und Trost (black metal)

Translated as ‘Of Transience And Comforting’, this track clocks in at almost nine minutes long, and while mostly instrumental paints a satisfyingly bleak landscape in native German and haunting cries. Taken from Rückzug in die Innerlichkeit, the four-track album is available on Bandcamp.

A close second was ‘Todesschrei’ (Death-Cry) by Dunstzorn. Taken from their 2011 Mein Inner Kampf, it has an appealing lo-fi dustbin-lid feel to the drums, and keeping things simple riff wise ensures that they lodge in your head all day long. The militaristic vocal style is a nice touch, too.


Fatal Nation – Lord Of Another World (crossover thrash)

Though spoken in broken Englishes, it’s certainly better than my Azerbaijani and is ten times more relatable than most Rihanna songs. A commendable effort mixing thrash with Eastern music influences makes for something quite unique.


Infestum – Void Of Nebulae (black metal)

Think Space Black Metal didn’t exist? Think again! These Belarusian black metallers use the gaping galactic maw as inspiration for fast-paced riffery, with synth and industrial tones to boot it into more suitably futuristic realms. Taken from the 2012 album of the same name.


Saille – Fhtagn (symphonic black metal)

This Flanders band have based their most recent album, Ritu, around the writings of H.P. Lovecraft with suitably epic songwriting to boot. Indeed, the name of the track is part of a phrase in the Cthulhu mythos, roughly translating as ‘Dreams’. The haunting guitar tones are backed by well-executed and menacing vocals, and orchestral parts are tastefully restricted to eerie choirs rather than listening to Moonspell drive off a cliff with a full orchestra in tow.


Enthrallment – Cane The Messiah With The Crook (death metal/grindcore)

Cookie Monster vocals and rapid-fire blast beats abound in this track taken from their 2008 album Immerse Into Bloody Bliss. Fronted by Ross Kemp’s Bulgarian twin, Enthrallment have been happily chugging away with Suffocation-style death metal since 1998.


Nekrist – Slava Satan (blackened death metal)

Unfortunately no longer with us, this track was taken from their final 2010 album Dux Deus, which is also their only full length album. It’s a shame, as their satisfyingly blasty approach to black metal (complete with key changes) would be a fine addition to playlists everywhere.


Sabbah Navahthani – Pions And Prutend To Omit (sludge/doom)

This track, taken from their self-titled album of 2007, is a veritable bowel-rumbling doom effort from Nicosia. Catchy riffs and rolling basslines are great to bang your head along to, and feature members from Great Coven and Eight Hands For Kali. The drummer, Tas, also played bass for Electric Wizard from 2008-2012.


Essence – Lost In Violence (thrash)

These Danish brutes have been dishing out Big Four-worthy thrash metal since 2005, and their new album, Last Night Of Solace, came out in March. This track, taken from the previous album of the same name, is pretty lengthy at nearly eight minutes, winding seamlessly through balls-out thrash and slower but beautifully intricate bass parts.


Talbot – Cayenne (stoner/doom)

Wonderfully crushing, Talbot also have a new album this year that came out in April. From their previous album Eos comes this little beauty, full of lead-laden tones and lashings of cymbal bashing.


Garden of Worm – Hollow (doom)

And for Finland…Lordi! Only joking. Instead come Garden Of Worm, named after a King Crimson song. This track from their 2010 self-titled album initially sounds pretty much like old-school heavy metal slowed down with a couple of tonnes of lead thrown in for good measure. Clean vocals have a fairly monotonous and dirge-like tone to them (which sounds better than it reads), which can make an interesting change to other similar-sounding bands.


Benighted – Slut (death metal with grind influences)

A genre not often seen, but you can really see it work at around thirty seconds in as precise blast beats marry perfectly with death metal manic shredding and growling vocals. Taken from the 2008 album Icon, this track shows influences of Dying Fetus and Aborted but still manages to sound somewhat original.


Bohema – Eternal Slaves (brutal death metal)

Another death metal band, this time a more brutal mix incorporating Sumerian mythology and mysticism, and some fairly intricate bass lines. Their new album came out around Christmas, but this track off their first album of the same name slows slightly more ferocity and inventiveness, and some bloody nippy double-pedal to boot.


Obelyskkh – Horned God (stoner/psych/doom)

Delivering a wonderfully rich and crushing tone reminiscent of Monolithian, this song is one of many delights found on their 2012 album Mount Nysa. Describing their band interests as ‘weed, acid, space, Captain Future’ etc. is certainly a good start for such a genre, but the all important wall of sound has certainly been perfected here.


Convicted – Merciless (thrash)

With a distinctly Rob Dukes Exodus-like tone to the vocals, ‘Convicted’ is perfect headbang induction material. Chugging riffs, war-cry lyrics and solid drumming make this and the rest of the self-titled album worth a good listen.


Grizzly – Dagon (stoner/sludge)

Free album downloads are always good, particularly when the music you’re getting is as well-written as this. These Budapest-based stoners mix crunching riffs with Orange Goblin-esque stoner, with the addition of extra sludginess. Taken from their 2012 album Fear My Wrath, available from Bandcamp.


Svartidauði – Flesh Cathedral (black)

Meaning ‘Black Death’ in Icelandic, Svartidauði use urban decay and more modern themes to bring about sonic destruction. Looming and oppressive, the sound they have created in this behemoth 11-minute track, and throughout the album of the same name, is a must-hear for lovers of ingenuity and the art of crushing terror.

Pathogen – Miscreants of Bloodlusting Aberrations

Posted in Death Metal, Thrash with tags , , on April 4, 2013 by Badass and Grim

I have a very dicey relationship with Death Metal, Death Metal is an audial mistress who does not permanently hold my metal interest. But sometimes, after repeatedly going home to Black Metal and growing tired of her repeated frosty sniping (it’s all “Kill for Satan” this and “You’re a worthless piece of shit who can’t even reclaim the nordlands in the name of the Æsir” that), I go out on the town. At first I try and meet up with my old buddy Doom, but turns out he’s headed out to the woods with Necrowolf to stomp around some iron age ruins, so after doing a few rounds of the block and a few rounds of white spirit, I end up back in the gore caked arms of my blast-beat harlot.

This time around the particular purveyors of sonic death are Pathogen, a four piece from the Phillipenes. Formed in 2001, they’ve forged their path to the present day on a path of cassette tapes, vinyl and CD-R. “Miscreants of Bloodlusting Aberrations” is their second full length release and the first to gain international distribution.

Before I get into the review it’s worth clarifying that my main beef with Death Metal in general is that of all metal subgenres it’s the one that I find the most jam packed full of mediocre, stock, album filler. There are some really outstanding acts as I’ve mentioned in past reviews, but there is also a lot of meh, and with so much out there to listen to the last thing I want is another 40min of the Cookie Monster and Co.
*Spoiler Alert* Pathogen completely avoid this trap, and drag their own furrow through a much trod wasteland.

We get rolling with “The Atrocity Exhibit”, and what’s obvious from the get go is that they’ve opted for a raw mix. This is fine, it works well within the context of the music and is probably a reflection of their history of releasing underground cassette demos with no option of squeaky clean digiclingfilm, and that’s the approach they’ve stuck with. What is also clear is that there are riffs (audience shouts “No Shit Sherlock”) but seriously, you’ve all heard DM albums which are just segmented blocks of shredded power chords. But not here, where there are frequent tempo and rhythm shake ups. Another tick off for reasons to keep listening. This track also features some beastly atonal descending guitar harmonies which are distinctive and make another appearance in later track “Leviathan”.

The prevalence of king riffage is also present during “Monolith”, with a super gnarly mid section which is then kicked into Slayeresque soloing and thrash background, further blending the offering stylistically. The next track drafts in sludge/doom elements, slowing right down as the Goremobile hits a swamp of filth, progressing through “Heretical Wisdom” in fits and starts as the tank treads find a bit of traction here and there before grinding through another verseload of grimness. I have to say that I found the album a little front loaded with less to look out for during the second half, but “Uranium Messiah” is a worthy closer, bringing together all aforementioned influences in a fusion of death, thrash and slower fist pumping lead breaks.

My criticism of the album has to be that for my tastes the mix could have been a little sharper at the top end and have had more depth at the bottom. The slow sections would have benefitted from the atmosphere that a bigger bass tone / reverb could have added. These are subjective style choices but for me that would have improved what are some really brutal pieces of writing. That aside this is an interesting release which finds its own way through the hoards of DM to offer up a reekingly fresh corpse of exhumed meaty goodness.



B and G Podcast – Episode 2

Posted in Badass and Grimness Podcast, Black Metal, Death Metal, NWBHM with tags , , , , , , , , , , , , , , on February 28, 2013 by Murderdeth

B and G Podcast – Episode 2

Your wait is over… Just scraping in at the end of the month. The February episode of the Badass & Grimness Podcast for your enjoyment/ridicule.

This month we recommend Frostnacht by Helrunar and Ghost Reveries by Opeth. Deej and I also fail to identify what it was the Rumple was seeing!

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