The period of growth in between releases comes with an intense focus upon subterranean angular guitar attack and chasmic bellows in reproach of the waves of thrashing madness of old.ĭeath Metal has gone from the vague term people who know nothing about music use to describe all forms of aggressive music to the choice genre for popular bars and nightclubs across the country. Wailing lead guitars and ‘Last One on Earth’ jogging rifts do little to escape the semblance of ‘Mesa’ from the Morbid Angel guided rhythms of their other project Heretic Yet elastic and rust-scraping atmospheric death metal guitar work creates just enough of a generational separation from old and new that Abyssous appears energized and far more capable than previous. The turn on a dime atmospheric old school death metal furor of ‘…Smouldering’ still exists on Abyssous‘ second outing despite having been silent twice as long as they were previously active. So many sects of ancient lords have fallen since between Alchemyst and Beyond, with even more falling silent ( Pyre, Drowned, Necrovation) and with the spiriting of Zom and Obscure Burial fresh, the return of Abyssous brings hope for the daimon of ancient and deeper occult death metal traditions. Pounding riffs, putrid vocals, angry drums, and rotting production are what Torture Rack brings to the table, and if you really want, you can stop reading right there and just go listen to the album I’m reviewing you’ve gotten the gist of it.īestial Hymns Of Perversion by OF FEATHER AND BONE Savagery is the word, and Torture Rack are the kings of it. With Inexorable Suffering by Our Place of Worship is Silence
I really enjoy the alternate switching between a slow doom-laden groove, before reverting back to full blast territory. This is also the first example of a dense, detailed composition style that O.P.W.I.S have in their tool bag. More Doom/Death than the typically shrill Black metal cries. The vocals are delivered with a reverb soaked guttural style. The opening is a caustic outburst that is driven by a brutal blast beat, treading the line between death and black metal. Why seize the heavens when only light shines brightly in open skies? Take to the darkness and experience the sense and sentience of being buried alive.įollowing on from the introduction is “Chronicles of Annihilation”. This album marks another journey into subterranean sewage tunnels for the likes of old-school death metal fans, as Petrification’s frantic but mostly controlled guitar attack paced by thudding drumming and deep basso profundo thunder are sure to send fans spelunking into caverns and mineshafts in a prelude to disaster. Sentient Ruin Laboratories, Memento Mori, Dawnbreed Records, and To the Death Records are releasing the latest scourge of humanity presented by old-school death metal band, Petrification, called Hollow of the Void. There’s no cruising here, no melodic niceties to smooth things over, this is a fist to your guts, over and over again, with tiny flourishes here and there to remind you what the sunlight looks like, and how you’re never going to feel it on your face, ever again. This is dirty, extreme, crushing Death Metal.
Within a minute we are bathed, fully immersed into this journey to the darkest depths of psychotic despair and, uh, Obliteration. T comes in on a rumbling rattle of drums, hellish guitars bringing discord, slowly marching the listener into the caustic doom that is waiting.