Carve the Earth- Blood Magik

AN AUDIO GRIMOIRE TO SUMMON THE ALMIGHTY RIFF!

Carve the Earth is a blackened thrash band out of Oregon. The band has been around since 2015 and dropped one EP in 2016 prior to this release. Blood Majik clocks in at a mere 25 minutes and the band does not waste a second of your precious time. Right off the bat the band comes to the ritual table bringing forth their brand off thrashy, black metal tinged riffs. Blood Magik shows off a near perfect blend of the two styles. The black/thrash metal subgenre is easily one of my favorites and compared to most other bands claiming this genre tag (in my experience at least), this band seems to lean more  towards the black metal side of things in the songwriting department. This makes for a healthy dose of atmosphere coupled with the balls of the more aggressive side of thrash, marrying into a perfect storm for metallic greatness!

One of the stand out features of the band is the vocals. Jerin Smith delivers a very wide variety of different vocal approaches and it really keeps the listener guessing what kind of wretched delivery he'll be dishing out next. Throughout the six tracks there's a healthy dose of putrid shrieking, some standard screams, and oddball growl, and a nice hearty yell here and there. "Eve of the Blood Magik Rite" is the first appearance of what may be his most unorthodox sounding performance. These odd vocals are sprinkled throughout the EP and while it may be a little off-putting to some, to me, it gives the band a truly distinct sound. Smith's delivery overall keeps the album feeling fresh and helps the runtime fly by with ease.

Blood Magik spends a good amount of its time throwing out killer riff after killer riff. Most of the tracks here do an amazing job creating an epic atmosphere without sacrificing the savage nature of the music. Tracks that lean into the black metal influence full force like "Forging the Hammer" and the closer "Perverse Creation" prove to be standout songs. Carve the Earth do a stellar job when playing the speedy, disjointed sounding tremolo sections. Overall the whole album showcases a band in their sweet spot. Not a note of filler to be found front to back, just killer songwriting and awesome performances to back them up. Each track has it's own, fleshed out identity and many elements that make them stand out. The production here is also great. Another release that has the bass sitting high up in the mix and it benefits the sound greatly. On the track "Eve of the Blood Magik Rite" the bass even gets a little solo moment that leads into an awesome build up.

Overall Blood Magik is a quick listen and one that is well worth your time. Fans of the genre will not be disappointed in the slightest. This is yet another example of 2020 already being an amazing year for metal and we haven't even hit the halfway mark yet! If you're on the fence I'd recommend giving "Forging the Hammer" and "Hypnotica" a listen, and if you like either of those take the dive and soak in this fantastic slab of metal.  'Hypnotica" ends with the catchiest riff on the album, and the ending of "Forging the Hammer" is no joke either. Anybody into thrash or black metal that's more riff based would be a fool not to give this one a shot. Anyone out there just into interesting, energetic vocal performances would be wise to give it a spin as well. This is really one of those albums you can play front to back, then when it's over, hit the play button once again and enjoy just as much as you did prior. Replay value through the roof, riff writing through the roof, audible bass that is badass, all the ingredients needed to concoct a killer metal album that will slay you repeatedly. GET IT!!!

Maximum Oversatan- Too Evil For Hell

Maximum Oversatan reeks of old school filth. Upon first listen it should be very apparent where this New Jersey duo pulls their influence from. These dudes harken back to speed metal and the earliest days of black metal, an era that not many new bands seem to be gravitating towards. Often echoing Venom's early material (whom they also cover a track from on this demo) but never to the point where it seems like some shitty tribute band. Consisting of three original tracks and two covers the demo gives a nice sample taste of what this band is all about.

The first thing that one will notice when putting on this demo is the raw, throwback sound. Naturally early demos from bands are fairly lofi but if this were to be played with no background knowledge of the band pinpointing a recording date would be an impossible feat. The vocals are delivered by what appears to be a possessed man on the brink of insanity. Little technique is used and it fits perfectly with the stripped down sound Maximum Oversatan churns out. The three original tracks are fairly straightforward and to the point. Sure, at times some of the riffs may seem vaguely familiar but they hit the mark where it counts with this style, delivery. The thrashier moments on these tracks come with a high level of intensity and are sure to whip your neck into a seizure-like frenzy.

Overall Too Evil For Hell is exactly what the name would lead you to believe, a sinister, primitive slab of heavy metal. Satan would be proud but unfortunately he is not evil enough to listen. Given that we only get the chance to hear about ten minutes of original material here it is hard to form too solid of an opinion. I like what I hear though, and if you like the earlier bands that influenced black metal chances are you will find yourself playing this a lot more then once. Give this a listen, thrash around like a barbarian and perform some sort of bloody ritual.

Various Artists- Rebellious Damnation Theories Compilation

Rebellious Damnation Theories is an online exclusive compilation featuring many bands from extreme metal/punk scenes all over the world. Featuring twenty five artists of various styles you are sure to find something here to your liking. All of this is packed into just over an hour of what will be new territory for most metalheads. Like all compilations there are a few duds here, or just tracks that simply don't sit right, but the final product still brings quite a few mosh worthy moments.

The compilation opens up with the monstrous Jugga from Nepal. Their track "Vultures Will Feed" proves to be the perfect way to open the compilation. It comes in, beats the listener down and flees from the scene of the crime. There are plenty of excellent tracks to be found here. One example would definitely be Dementia from Pakistan, a band that plays a healthy blend of thrash/groove metal. These guys have a very professional sound going for them and have fairly developed writing skills. Not long after Dementia's track you have the polar opposite Bvlghvm. Also hailing from Pakistan these dudes pack one heavy as hell punch with their brand of filthy, hate-filled sludge. There are also a few familiar faces to the website that we have covered before. Bands like Sledgehammer Autopsy, Death Inquisition, and Foreskin hold their own up against all the other bands crammed onto this thing.

Naturally, given the fact that the bands are from completely different regions of the world and have completely different recording situations, the sound quality varies a great deal from track to track. This may throw some listeners off but after taking some time to get used to it you adjust and it is barely noticeable. Unfortunately the production value of bands like Chillar Killer and Masturbate take most of the impact out of their music. Playing goregrind with such a flat sound just doesn't workout well, it lacks the punchy tone that this style of music thrives for. Due to this little problem a few tracks towards the middle sort of slow down the pace of the comp.

Overall Rebellious Damnation Theories is sure to introduce anyone who listens to some solid, new bands. These compilation covers touches all the major extreme subgenres. Death, thrash, black metal, crust, sludge, crossover, hardcore, groove, it's all here at one point of another. Definitely worth getting if you're a fan of metal or punk in general. There is a gigantic slew of bands out there just waiting to be heard, this is just the tip of the iceberg.

Agga Interview

Here is an interview with the sole member of one man black/thrash metal band Agga. In this interview we discuss the future of Agga, mythology, and many other things. If you haven't already check out Agga's music here http://soundcloud.com/agga40

 Foul Feast: Is Agga the first musical project you've been involved with?

Lord of Babylon: It's the first serious project outside of random jams with various buddies. I've been making music for awhile, but a big portion of the material was sloppily made stuff on a Tascam 4 track recorder using pre programmed drum beats on a Casio keyboard. I'm slowly rerecording the older stuff I'm more fond of, Flight of Suhgurim is one example of this.

FF: Most of your music deals with Babylonian and various forms of mythology. Is this something you enjoy studying and learning about in your personal life as well?

Lord of Babylon: This is very much a part of my everyday life. I've always felt if one is going to use mythological themes for their lyrical subject matter there should be a real personal connection of some sort as well otherwise it's just bullshit. I started out in my teen years being into some basic Satanic stuff but once I read the Simon Necronomicon I found myself very much drawn to that way. Granted the Simon Necronomicon is an incomplete look into a far more complex Mesopotamian mythological pantheon it does provide one with tools to begin the work. From there I learned about Aleister Crowley and found the more work I did with the Necronomicon the more I understood Crowley's writings. In time I began to come upon more actual subject matter dealing with historical Mesopotamian lore and began cross referencing the historical/archeological information with what is in the Necronomicon and found this to be vital in fully understanding the various systems/pantheons from Mesopotamia. As far as I have found, all the mythologies/pantheons are interconnected on varying levels but to see those connections helps put the missing pieces in place. It is most definitely a work in progress but an enjoyable effort.

FF: How important is the atmosphere to you on an Agga release?

Lord of Babylon: Very important. I'll go and listen to many bands and when there isn't ANY atmosphere I tend to get bored quick. Most of the guys I used to jam with never really took into account atmosphere and were more concerned with "cool riffs" but not using those cool riffs to evoke something, a soundscape if you will. Creating an atmosphere isn't an easy endevour but I feel its worth the effort once you can effectively communicate something to the listener. Dont get me wrong, I LOVE the in your face metal stuff for its pure power but that can get old fast.

FF: Has your influence shifted much since the last Agga album?

Lord of Babylon: I have to say yes. I've found myself listening more to thrashy stuff the last year or so. As far as black metal is concerned, I find myself enjoying the thrashy stuff more than your overly symphonic "epic" stuff, ironically. I guess listening to the overly symphonic stuff for many years has finally caused me to get burned out on that sort of music. Like back in the day I'd listen to some Therion, Emperor and Tiamat non-stop but these days all 3 bore me to death and instead I'll jam me some Absu (Third Storm.. and The Sun of..) or Gehennah (Hardrocker) and stuff like that. Sure, there isn't alot of what one would typically consider "atmosphere" in that stuff but in my eyes I say there is tons of emotions going on. Its a more active emotional release than what one typically associates with atmosphere. Emotions are varied so to create atmosphere one must access all the expressions of emotions from its manic peaks to its depressive valleys.

FF: What can we expect to see in the future from Agga?

Lord of Babylon: Good question, hahaha. I kind of go where I'm supposed to go. Sorry for the totally cliched answer there but it's the truth. I will say this, I am in process of applying the mythological concepts to real world happenings in order to give more life to the lyrical concepts. I find mythology was just an in depth description of the society who created the particular mythos so trying to find its core principals and applying it to modern life can be an interesting working.

FF: How do you go about writing a song? Is there a certain instrument you always start with during the writing process?

Lord of Babylon: I typically start off with a very basic drum track that is separated into individual measures. Then I begin the guitar process, slowly constructing the rhythm section, two tracks for this. After this I construct the actual drum tracks (using another drum program) to fit with the rhythm section. Once I feel this has been done to satisfaction, in comes the bass lines, since I like to have the actual drum tracks in place before doing the bass lines. Lead guitars and vocals come in after all this dependent on their need at that part of the song. So in short it truly is constructing a song from the ground up. It's a really cool feeling seeing a song manifest from random riffs and sounds. This is what I mean by kind of going where the song is taking me rather than have a rigid plan in place.

FF: Do you ever plan on branching the project out a getting together a full line-up?

Lord of Babylon: I'd LOVE to eventually get a group of guys together to play live, but everyone seems to want to play brootul death metal or some form of Pantera/Shadows Fall boring commercial metal worship. Also, drummers are a pain in the fuckin ass, seriously! They seem to want to dictate too much of the goings on and it invariably turns into the drummer wanting to change things to some sort of progressive music angle. I've found drummers care less about atmosphere and more about playing complex shit to impress everyone. Yawnnnnn

FF: Are the any bands in your area playing a style that is even relatively similar?

Lord of Babylon: Nope, not that I know of at least. I really wish I was around back in the early 90's as Tampa isn't too far (2 and 1/2 hrs) away from me and I think things would be a bit different. All the local metal I've noticed around here is of the commercial metal variety or death core sort. This is why I concentrate my efforts online as the scene around here (Naples/Ft Myers) blows ass nuggets.

FF: Any final thoughts?

Lord of Babylon: Other than fuck poser metal and hail true underground metal that is full of passion, real anger, and other assorted real emotions... I can't think of anything. Perhaps goto http://soundcloud.com/agga40 and check out both the 2008 self titled album there and the 4 newest songs. Also thank you jugchord07 for the interview, I enjoyed it. It's weird being on this end of the interview, haha. Keep up the good work man and everyone, turn your back on the poser rockstar wannabe metal out there. Metal is a lifestyle, not a hipster trend!

Rebellious Damnation Theories- Free Online Compilation Download

DOWNLOAD: GET IT

Compilation featuring Crust, Grind, Thrash, Crossover, Hardcore, Sludge, Death/Black bands from the subcontinent and other areas (Indonesia, USA, etc). Releasing on Friday. Features the following bands:

Jugaa - Nepali Hardcore/Metalcore (https://www.facebook.com/jugaahc)

Bonecrushing Unity - Pakistani Hardcore/Crossover

Sangharsha - Nepali Hardcore/Metalcore (https://www.facebook.com/shoutatsangharsa)

Moron Crew - Indonesian Hardcore (https://www.facebook.com/moron.bhc)

Foreskin - Pakistani Hardcore/Crossover Thrash (https://www.facebook.com/foreskinband)

Pataca - Bulgarian Death/Thrash Metal (https://www.facebook.com/pages/PATACA/161422916730)

Dementia - Pakistani Thrash (https://www.facebook.com/dementiapk)

Tormentstorm - US Thrash Metal (https://www.facebook.com/pages/Tormentstorm/108669639241457)

Nuclear Winter - Bangladeshi Crossover/Thrash (https://www.facebook.com/NuclearWinterBD)

Hedorah - US Sludge/Death (https://www.facebook.com/Hedorah)

Mysois - Pakistani Sludge/Doom (https://www.facebook.com/pages/Myosis/181688655204576)

Bvlghvm - Pakistani Sludge

Bruxism - US Grindcore (https://www.facebook.com/bruxismbs)

Abusive Father - US Grindcore (https://www.facebook.com/AbusiveFatherGrind)

Chillar Killer - Pakistani Noise/Grind

Ha5h on Death Drive - Pakistani Grindcore

Masturbate - Pakistani Goregrind

Gorified - Indian Goregrind/Death Metal (https://www.facebook.com/pages/GORIFIED/187325001570)

Multinational Corporations - Pakistani Death/Grind (https://www.facebook.com/multinationalcorporationspakistan)

Unholy Sermon - Sri Lankan Black/Death (https://www.facebook.com/unholysermon)

Necroticon - Pakistani Death Metal

Sledgehammer Autopsy - US Death Metal (https://www.facebook.com/Sledgehammer.Autopsy)

-------LIVE TRACKS--------

Death Inquisition - US Thrash Metal (https://www.facebook.com/deathinquisition)

Takatak - Pakistani Metalcore (https://www.facebook.com/IzTakatak)

Inside 2 Stoopid Triangles - Nepali Punk/Hardcore (https://www.facebook.com/inside2stoopidtriangles)

Free music on a comp filled with kickass bands. What more could you ask for? Check it out!

Ancient Obliteration- A Menacing Reality

Ancient Obliteration is a death-thrash band from Canada. The band formed back in 2006 and have a demo, EP, split, and live album under their belt. This is their first full-length to date and the wait pays off. Clocking in at a bit more than thirty minutes A Menacing Reality packs in more diversity than I initially expected. This isn't your run of the mill knuckle dragging thrash album, but Ancient Obliteration isn't out to reinvent the genre either. They have a few tricks up their sleeve and it makes for an all around enjoyable listen.

Upon first listen I wasn't quite sure what to think of A Menacing Reality. That being said, after a few listens the album really begins to click. The dirty guitar tone featured on the album fits Ancient Obliteration's overall sound perfectly. When intertwined with the punchy bass it makes for nice stomach churning grooves, this is most noticeable on tracks like "Lust For The Curse" and "Professor Of Black Magic". A good portion of the guitar playing just consists of simple, catchy riffs but the players do enough to show that they know how to handle their instruments. The bass adds a great deal of griminess to the overall sound, making each note heavier than the last and the guitar hits just as hard, almost to the point where it seems as though they are trading blows.

The production on A Menacing Reality allows Ancient Obliteration to pack twice the punch they did before. The past releases had a sound that was fairly flat. Don't expect this to have an extremely polished sound by any means, in fact, Ancient Obliteration is pretty much anything BUT polished. The production fits the loose playing on the record. At times it feels as though the music train is about to derail and cause an explosion of Michael Bay proportions. Luckily this never happens and Ancient Obliteration holds it together. This feeling adds an element of excitement to A Menacing Reality giving it an uncontrollable vibe.

The vocals here vary quite a bit. For the most part they switch between mid to low growls. At times clean vocals are used and they are typically delivered in a nonchalant manner. The cleans keep the listening experience fresh and fun and often come across as playful. Ancient Obliteration's lyrical themes tend to gravitate towards monsters and other odd subjects. The first track on the album "Radiated Overlords" is actually dedicated to the old school 50's B-movie THEM! With inspirations like that and songs with titles like "Giant Devilfish" what's not to love?

Overall A Menacing Reality is a solid release. Ancient Obliteration are definitely showing some improvement when compared to their previous releases. It seems each time they put something out there has been at least a slight tweak in their sound. Fans of death and/or thrash metal will be pleased with this album to say the least. Ancient Obliteration still has plenty of room for improvement, but considering this is their debut full-length it slays twice as much as I had expected. Give this one a listen.

Abysmalia- Amid Adversities

Finnish progressive thrash outfit Abysmalia is back and still striving to put out some very unique metal music. Having formed back in 2007 these guys already have four full-lengths and an EP under their belt. Since 2008 they have released an album every year and somehow between the release of their amazing most recent full-length Replenish Entirety, they manage to put out something just as consistent.

The album opens with "Recollections of a Reality". A brief intro that features female vocals and does a great job at setting the tone for the record and introducing the first song "These Words are My Woes". Starting off with an absolute bang "These Words are My Woes" features some of the fastest and most aggressive moments on the album let alone Abysmalia's discography. Yet somehow before all is said and done they manage to do a complete 180 and end the track with a beautiful, uplifting solo and soaring clean vocals. Abysmalia has always been amazing at keeping the listener on their toes and when listening to the first few songs here they make it evident that they haven't quite lost their touch just yet.

Amid Adversities seems to have a stronger thrash influence than the previous album. The difference is very slight to say the least and only pops up on rare occasions, but there is enough for past fans to begin to take notice. That being said they still maintain their progressive elements and don't ever stick to one particular style for too long. Another interesting thing about the release is the bass. Abysmalia definitely has always had the bass at an audible level to say the least. On this album it sort of takes the spotlight at times. A solid example of this would be on "From a Sanguine Heart" in which the bass actually overpowers the guitar and really drives the song almost single-handedly.

The sheer amount of diversity held within these six tracks is unbelievable. The fact that none of it sounds out of place in the slightest is even more amazing. At times there is an all-out thrash assault and the next thing you know you are listening to something that has subtle pop influence. "The Mothers of Sons" gathers all of this up and bundles it up into one nice, easy to digest, eight minute track. Flipping back and forth between calming melodies and pummeling grooves, it is the best representation of what Abysmalia is all about.

Overall Abysmalia proves their consistency once again with Amid Adversities. This is their most professional sounding release by far. The influences that you could hear on Replenish Entirety are almost entirely gone and it is clear that Abysmalia have molded a sound that they can truly call their own. While the music featured here may be too spontaneous for some it seems like this is about as easy to digest as Abysmalia is going to get. Those looking to get into the band should definitely start here. Prog metal fans will not be disappointed.

Agga- 4 Track Promo

Lord of Babylon is back to unleash four new Agga tracks. For those not familiar Agga is a one-man project from Florida that plays a nice blend of thrash and black metal. In my review for their debut I used the term epic metal to describe them and by the sound of these tracks that appears to still be the perfect term to describe their music. Though it is difficult to tell much from four tracks The Lord of Babylon makes one thing very clear, he is still on his game and Agga will continue to strive to be the best it can be.

One thing that has improved since the debut is the mixing. The drums aren't so high up in the mix and it really just makes the listening experience more enjoyable. Other than that this is exactly what I had imagined the new material would sound like. This is by no means a bad thing and it is not simply a carbon copy of the self-titled album. That being said fans of the first release will not be disappointed.

The four tracks featured here clock in at just under thirty minutes. Two of the songs are instrumentals and they are both sound fantastic. The first instrumental titled "Prelude to Time" is possibly the most catchy track ever recorded by Agga. The constant stream of ancient sounding tremolo picked sections make the seven minute length go by faster than an Anal Cunt track. The instrumentals may have vocals included by the time an actual release surfaces but in all honesty, "Prelude to Time" sounds near perfect the way it is. The other instrumental "The New Age Of Tiamat" contains a bit of a surprise. The track gets very groovy about halfway in, the transition from speedy riffs to crushing grooves is done almost seamlessly. At first this moment doesn't seem to fit but upon further listening it sort of grows on you and makes for a genuinely heavy moment.

The vocals seem much more scratchy than before. They are also quite a bit easier to distinguish compared to the previous release. Aside from the chanting featured on "When the Tablets of Destiny are Broken" we don't really hear any clean vocals here. The songs are more thrash oriented than most of the material on Agga. They still maintain the unique sound that was displayed in the past, they just have more of a "full speed ahead" attitude going for them.

Overall Agga appears to be up to the task of following up their debut with something just as good, if not better. These new tracks definitely show that the amazing first impression that was given initially was not a fluke. If the rest of the upcoming album is up to par with this The Lord of Babylon will have an excellent album on his hands to say the least. Definitely keep an eye out for Agga.

Death Inquisition- Greatest Shits Vol. 1

Death Inquisition is a thrash band from Tulsa, Oklahoma. Listeners that go into this release expecting a fun, polished thrash record will be thoroughly disappointed. While it can be fun at times, Death Inquisition plays an evil brand of thrash that could throw your average Christian into an epileptic fit. At times their sound features tinges of some of the more extreme subgenres of metal, giving them a sound that is fairly reminiscent of bands like Venom and Voor. Prepare for nearly twenty minutes of thrashy goodness.

The sound of this demo is simply filthy, there are absolutely no frills to be found. Death Inquisition has that certain special rawness that isn't achieved very often within the realms of thrash nowadays. The tracks here are very straightforward for the most part. That being said they are well written and are filled with riffs that make you want to bang your head until your neck despises you. The solos here can get a little sloppy at times but it sort of fits with the overall sound. The most effective track on this releases proves to be the longest. "Reaper of Faith" is definitely the best representation of the bands overall sound. It clocks in at nearly six minutes and features some of the most impressive guitar playing on the release. It puts all the main things that Death Inquisition utilize in their music on display and works as the centerpiece of the demo.

The bass is high in the mix, which gives this a different feel than a good portion of the thrash bands out there that have a very thin, one dimensional sound. Depending on your perception this could be a good or bad thing, some may find the bass too high in the mix. The vocals featured on here are barbaric to say the least. McDuffie sounds like a man on the brink of insanity. His wails definitely won't please everyone but there is a certain charm to be found within his raw, "I don't give a fuck" delivery. It may be all over the place but it works and that is all that matters.

Overall Death Inquisition's demo delivers. They capture the sinister old school thrash sound successfully without sounding forced like many other bands. We'll have to wait for a full-length to see whether they can utilize their sound and shape it into something amazing. That being said they are certainly starting off on the right track. Fans of thrash and the first wave of black metal should give this a look. It's the second wave of evil metal (Voor reference, if you're confused you can deal with it). Definitely recommended!

Interview with Digestor (Ghoul)

Ghoul is back again to release their first full-length in over 5 years! Transmission Zero is getting released November, 8th on Tankcrimes and even after being together for 10 years it is evident when listening that all of the energy is still there. We had the chance to ask Digestor a few questions about the new release and the future of Ghoul. 

Foul Feast: How are things in Creepsylvania?

Digestor: Cloudy with a chance of MURDER!!!

FF: You guys just recently kicked off the tour in support of the new album, how did that go?

Digestor: We were recently kicked off the tour?! Why weren't we notified?! Oh, for fun. We actually have not left for tour yet. We leave Oct 12th.

FF: What other bands can we expect to see joining you on this tour?

Digestor: We're going out with the legendary Gwar, Every Time I Die, and we will be joined on the last couple shows of our leg of the tour by the stellar Warbeast.

FF: Has Ghoul ever done a big tour like this?

Digestor: No, the biggest tour we've been on was a tour of the Schlitz brewery. We were kicked off that one too, incidentally. Hey, if they don't allow swimming in the fermenting tanks they should put up a sign. I'm not a mind reader.

FF: Explain a bit how Transmission Zero differs from the past Ghoul releases.

Digestor: It has a different cover, different lyrics, and a different title, but I have to admit it has a lot of the same riffs. Again, I kid you! It's certainly a good companion to Splatterthrash, but I think the music is more aggressive this time out, and there are a few curve balls thrown in there that people will have to discover for themselves.

FF: Who did the amazing coverart for Transmission Zero?

Digestor: A wonderful artist named Bill Hauser who has done work for many, many other great bands. We were so lucky that he agreed to work with us after only three hours of hooking him up to a car battery and electrocuting his bathroom area. Mainly we were lucky because the battery was about to run out of juice when he agreed. If only he had the willpower to hold out a few more minutes he could have avoided this whole mess.

FF: A few years back you did a split with Brody's Militia, do you plan on doing any splits in the future? And if so who are you wanting to do it with?

Digestor: I believe there is a split planned in the future with a certain band on a certain label. I can't elaborate any further, as I signed a non-disclosure agreement and I take those things really seriously.

FF: Do you have a favorite track from the new album?

Digestor: I really like them all, but if I had to pick one I'd go with the title track. That and the secret track. Oh, I gave away the secret! Me and my big mouth...

FF: Do the hoods help with your thrashing abilities? I'm just trying to wrap my head around the mystique behind Ghoul.

Digestor: I'd like to wrap your head around something... The hoods only serve to hide our hideous visages. The cocaine is what helps us thrash.

FF: What kind of shenanigans was Ghoul up to during the 5 year break between albums?

Digestor: A little of this, a little of that. Hiding from cultists, burning down orphanages; you know, the usual.

FF: How did your deal with Tankcrimes fall into place?

Digestor: One day we were loping through the catacombs and saw one of his "Tankcrimes" stickers stuck on the skull of a small child. This showed an impressive lack of taste, respect, and common sense. We knew right then that he was our kind of clod. Though he's a bit of a recluse and more or less stays off the grid we managed to track him down, and after a lengthy and detailed description of what we would do to him if he didn't put out our albums he agreed that it was a good idea.

FF: What was your biggest influence musically going into this album?

Digestor: The last Ghoul album. We don't get a lot of new music in Creepsylvania.

FF: Any final words?

Digestor: If I have one life to live, let me live it as a blonde!

Ghoul- Transmission Zero

If you are a seasoned metalhead you are most likely no stranger to Ghoul. These guys have been consistently tearing it up since 2001. It has been five years since their last full-length and they have finally returned with their long awaited album Transmission Zero. In between albums Ghoul made the switch from Razorback to Tankcrimes but they haven't changed much musically. This is still the same vicious thrash that we've come to know and love from the band, and let's face it, does anyone really want it any other way?

The riffs on this album are beyond amazing. You could be sitting in the waiting room at your dentist office awaiting a root canal and immediately when the first riff kicks in you'll go into full on numbskull mode and start a moshpit with the two elderly people sitting beside you. This is Ghoul doing what they do best and that consists of them breaking out of your speakers/headphones and sending you into a heavy metal fog. Enough with these stupid references, the bottom line is that this shit slays.

For the most part Transmission Zero tends to be more of a straightforward thrash album when compared to the previous Ghoul releases. There is a great deal of energy put into every track and tons of catchy gang shout sections. As usual all these tracks have the perfect sound to throw an audience of metalheads into a moshing frenzy. With that being said there are a few surprises on this record as well. One of which is the track "Morning of the Mezmetron" which takes a slower approach and breaks eight minutes. The track gives off an eerie vibe and is a great change of pace for the albums overall flow. The old school sound shown on tracks like "Death in the Swamp" and "Transmission Zero" are extremely entertaining and make you want to go out and ride a tidal wave of blood.

Overall the five year wait paid off. Ghoul has done it yet again and it is beginning to seem like they are unable to release a bad album. This has been in constant rotation since I received it and it may very well be my favorite Ghoul album. Not many new albums come to mind that have a replay value quite like this one. Each track stands out and they all have their own qualities that separate them from one another and it all flows together seamlessly. Fans of metal in general should get this along with all the other Ghoul releases. They are growing to be one of the most consistent bands in the metal scene today and this album is just another perfect example of that. Old fans will not be disappointed, newcomers will be amazed, everyone wins. Get it!

Bones- Bones

First things first, holy shit! Bones is from Chicago and they are raw as hell. Fans of black/thrash veterans Usurper may notice that this dirty trio is made up completely of members of the now defunct group. Don't go into this album expected a carbon copy of their past work. While some comparisons can be made it is clear when listening that Bones is a very different beast.

This album kicks off immediately and grabs you by the balls and doesn't loosen its grip until you can't take anymore. This isn't just typical death metal it is a melting pot of heaviness. They deliver their music with punk attitude, thrash your brains out and have some crust elements, they are doomy at times and on top of that they are drenched in sludge. Sounds like everything you could want in an album? If so forget about reading the rest of this and just listen to it.

The production for this album is booming and the guitars just roar. The guitar tone is the definition of heavy. The album runs off pure adrenaline and simple riffs that simply tear the listener to shreds. Imagine a concoction of Motorhead, Toxic Holocaust (Evil Never Dies era), and some old school Master thrown in for good measure and you'd have a general idea of what Bones is all about. This is the perfect example of no holds barred metal. There is no comfort zone to be found. Many death metal bands have the ability to be "heavy" but Bones takes it a step further with their brand of aggressive, sickening grime, by incorporating all of the energy humanly possible in this blast of fury.

Though for the most part Bones runs strictly off brute force, when they slow things down and do more riff driven tracks the outcome is just as good.  Necromancer's vocals have that uncontrolled sound. There isn't a huge amount of variation but considering none of the vocals have that generic "fabricated" sound it shouldn't bug anyone in the slightest. He delivers his harsh vocals with a great amount of power and anger. In the end all of the elements featured on this album mesh together perfectly and form the ultimate fit of death metal rage.

Overall Bones rips a solid portion of the competition to bits. This really is a breath of fresh air compared to a lot of the newer death metal bands coming out, they're just here to tear you a new asshole and then leave you there to bleed out. By the end of this album your ears will hate you forever and fear the next time you bring headphones near them. This is the sickest debut of the year thus far, if you don't check this one out you will become the laughingstock of the metal community. Get on it.

Odinfist- We Are Gods

Odinfist is a four piece power/thrash metal band. They formed back in 2006 and have since released two full-lengths and two EPs. We Are Gods is their second full-length and the band shows some serious promise. Their brand of thrashy power metal isn't quite perfected but they are on the right route. The first thing that sticks out when the album starts is the energy. They capture the old school sound better than most of the competition without a doubt. Obviously there are a few more modern sounding things involved in Odinfist's sound but overall that throwback vibe is always there.

While the music is energetic it never really comes across as "heavy" so to speak. This may be because the guitar tone doesn't pack much of a punch. The album is mainly riff and hook based. In addition to this there is also a vast amount of odd melodies incorporated in sections that at times makes things seem a bit scatterbrained. This may turn many people off at first (as it did with me) but after a few listens these moments grew on me and actually is one of the few things that separates Odinfist from the mass amount of bands that are playing a similar style. The solos featured here melt faces as expected with a band like this. At times the solos seem a tad sloppy but it is never enough to ruin said solo.

The vocals are a healthy mix of clean and harsh, there is a wide range of different styles used and it really keeps the listening experience as fresh as possible. It is amazing that so many vocal approaches could be used on one record and still coming across relatively cohesive. The delivery for the most part is extremely catchy and is the type could imagine a crowd chanting along to.

Overall We Are Gods is a fun ride. The band is clearly having a good time with their music and it comes across when listening. Coming from someone who normally doesn't dig power metal much, this is a solid album. I feel that if they expand on the positive things displayed on this album they could release something superb. Whether you are a thrash fan, a power metal fan, or just a fan of metal in general this one is worth a few listens.

Astrum- Tales of Witchlore

The mighty Astrum is back again for their second full-length. They have been at it since 2000 and have released a slew of demos along with the full-length. Since their inception they have stuck to a similar style but expand on it and make it better with each release. Those familiar with the band know what to expect here, eleven tracks clocking in at near twenty nine minutes of riff oriented insanity.

As usual one of the major highlights on this record is the riffs. Catchy riffs are abundant on this album from start to finish. Sure, this isn't the most technical or unique thing ever put out but the playing style used here turns out to work well. The solos used here fit well with the songs and never seem out of place. The bass has a very bellowing tone and pounds furiously being the guitars. The combination packs a nice punch and makes this album excellent for a good ol' headbanging session.

This album also features Timpaler's signature vocal style. Those who have heard any of the previous Astrum or Kosmokrater releases know whether they like this style or not. For some reason it seems his vocals on this record are easier to digest than on previous releases, there is no major change in the approach but at first listen it seems like they may have a little less "snarl" in them.

As expected the vocals can be a make or break for some people, they work for me but are quite outlandish to say the least. Keep in mind even if Timpaler's pipes don't do it for you that this is a riff-driven album and the focus while listening is mainly given to that aspect of the album. This vocal approach also allows every single lyric used to be heard and understood clearly. The lyrical themes aren't mindblowing by any means, and at times on the cheesy side but they work. The production on the album is excellent for an independent release. The balance of all the instruments is nearly perfect for the style and has that very thick, deep sound. Every note can be made out from each member.

Overall you are going to get exactly what you expect out of the new Astrum release. Things have gotten a bit more solid for the band all around and the music is a tad more persistent. That being said, if you didn't dig their previous releases Tales of Witchlore most likely won't change your mind. So, if you are up for it kick back and let the "Master of Rock" throw some tasty riffs into your earhole.

Nocturnal Fear- Excessive Cruelty

Nocturnal Fear is a thrash band from Detroit, Michigan. The four piece formed back in 2000 and have been consistently mangling metalheads since. Excessive Cruelty is the band's fifth full-length and they still show no signs of fatigue. One glimpse at the song titles alone should give those who aren't familiar with the band a good idea of what they are all about. This is high class wartorn thrash of the highest degree that is sure to make every head in the area bang forcefully.

The guitar playing on the album is fairly memorable. There are many riffs here that will linger in your head long after the listening experience is over. There is also plenty of variation to go around, the slow epic section in "I Am War" is one of the first moments that comes to mind. The interesting songs structures and riffs manage to make this near 50 minute album fully engaging from start to finish. The bass is also audible for the most part, while it does do it's part beefing up the sound the majority of the time it just follows along with the guitar.

The drummer, Witchhammer, is a force to be reckoned with to say the least. The powerhouse of blasting showcased here without a doubt proves that the man has the stamina of a machine. The drumming here gives the album that extra push into excellence, it is certain that many other people behind the kit wouldn't fit quite as well. The vocals featured on this album are nothing to write home about. That being said, they do fit the harsh brand of thrash Nocturnal Fear plays perfectly. The lack of variation in this aspect of the album doesn't effect the overall experience much, Devastator delivers his nasty snarls with more than enough power and confidence to make them much more than adequate.

Overall Nocturnal Fear prove that they still reign supreme against most of the competition when it comes to the "thrash revival" trend. When one thinks about this album it is almost hard to consider this "thrash revival". Excessive Cruelty ups the ante in terms of brutality and is just a straight up, ass kicking thrash album, plain and simple. As usual it is very clear where the group draws influence from, but it is still an extremely solid onslaught of vicious thrash metal that will not disappoint. Fans of old school German thrash should have a good time with this release and fans of previous Nocturnal Fear albums will certainly not be letdown. The album finishes the way it starts, with all cylinders firing and still showing off that "pounce and kill" attitude. Give this one a look, it is worth many listens.

Ruins- Chambers Of Perversion

Ruins is a blackened thrash metal band from Germany. Bringing an arsenal of christ raping metal blasphemy to the table Ruins is guaranteed to destroy most of the competition. The band has been churning out material at rapid speeds since their formation in 2006. They have released two demos, three splits, this EP, and a full-length in their short time together. With the heavy amount of output one would assume the material must be lacking, but that would be false. With a cover like this one it is certain that anyone even thinking of getting this is fully aware of what they are getting themselves into. Chambers Of Perversion makes the inside of the listeners ear look like the crime scene of a savage murder. This is one of those albums that makes you feel the need to take a shower after initial listen.

The main thing that makes this release is the raw aggression that is displayed. Ruins has the attitude of early Toxic Holocaust, which is always a plus. The raw punkish attitude definitely adds to the all out assault the band delivers in terms of the instrumental elements. On top of all this they know how to keep it short and sweet. There is absolutely no fat to be found in the content of Chambers Of Perversion. Some of the tracks, including "Chambers of Perversion" and "Primitive Evil" don't even break the two minute mark, but never fear! Ruins knows how to pack an absurd amount of greatness into extremely small tracks.

The guitar tone used on the album is drenched in distortion. Nothing too technical to be heard, just a wide variety of vicious riffs that are delivered at a blazing pace. The vocal performance featured on the album is putrid. The almost constant attack of throat shredding vocals are sure to turn away some listeners. That being said the vocal style works extremely well for the sinister speed that Ruins is belting out. The record also contains a fierce onslaught of drumming. The drummer pounds away at his kit for the full runtime and not a hint of fatigue is shown.

Overall this album should be marked down on the to get list for any fans of black metal and filthy thrash. While Ruins may not be the most original band on the scene today, they do what they do and they hold their own when it comes to other bands playing a similar style. Chambers Of Perversion has a great deal of replay value and with it's short runtime can be played multiple times back-to-back without getting old. Don't expect anything clean from the sick bastards in Ruins, they make sick music for vile individuals, if you fit the bill, you'll be pleased with the product, if not, don't bother.

Abysmalia- Replenish Entirety

Abysmalia is a three piece band from Finland. The band plays a unique style of proggy thrash influenced metal. The way they approach this style is sure to turn the heads of many metalheads. It would be very difficult to find too many other bands to compare to Abysmalia. While the music isn't so zany that it is hard to enjoy it is most certainly not the most conventional of it's kind either.

The vocals on the album are very well executed. There is a healthy blend of both clean and harsh vocals. The harsh vocals on the album sound very uncontrolled and edgy. The cleans featured are a highlight and without a doubt spice up the overall sound of the record quite a bit. The fretwork on Replenish Entirety is quite captivating. The playing consists of, not only solid riffs, but is also fairly intricate at times. The timing used during many sections of the album are odd and keep things fresh. While many bands that flirt with technicality sacrifice the ability to write a song in order to showboat their talents, that is not the case here. There is a decent amount of great guitar playing displayed here but it is all written in a manner that is very easy to digest and to put it simply fairly awe-inspiring.

The bass on this album doesn't fade into the background like in most cases. Much of the album actually relies on the bass to hold the groove and beef up the sound. Not only does the bassist get a little time in the spotlight, he can also be credited with doing a major part in holding this beast of an album together. When listening to Abysmalia's wonderful composition of sounds a few bands may come to mind. The first that may come up throughout is Augury, while the band isn't strikingly similar many moments do appear to be partly inspired by the prog gods.

When listening to Replenish Entirety it is easy to tell that Abysmalia isn't too worried about what listeners think of them. They never stay in anything that could be considered a "comfort zone" for very long. The band's fearless approach definitely makes this release a breath of fresh air. Just when you think you know where they are going next they throw a curveball and do something that nobody could have predicted. Going about music this way takes plenty of guts and when listening to this it is clear that Abysmalia have no lack in that department. The softer side that Abysmalia shows on and off throughout the album is stunning. While it is extremely relaxing and emotional it manages to hold an intense grip on your attention. It is hard to believe that such chaotic moments can be displayed so cohesively when juxtaposed with the beautiful sound that makes up their other half.

Overall Abysmalia have made an eerily engrossing album. It is hard to pinpoint an exact section of metal fans that will enjoy this release. Many different subgenres are poured into this melting pot of metal. Whether the band is moving at the speed of light or at a crawling pace they always play to the fullest and aim to entertain. Fans of anything progressive should get some kind of enjoyment out of this. Due to the unique sound the band puts on display, Replenish Entirety has amazing replay value. Check this one out!

Entrenched Interview

Today we have an interview with Charles Snyder of Entrenched. This New Jersey duo plays war themed death metal that destroys anything and everything in it's path. 

Foul Feast: Tell us a little about how Entrenched came to be.

Charles: Well me and Sean have been friends for about 7 or 8 years, we had been in a few bands on and off before but nothing ever too serious, but in the fall of 2009 he came to me with the idea to make an old school death metal band.  After a few weeks of talking about it we started to jam on some ideas and Entrenched was born.

FF: Is war a fascination of yours or is that just something you choose to use as a lyrical theme?

Charles: I'm probably fascinated more with it than I'd like to admit, if I was indifferent to it I wouldn't be able to really get behind it as the creative theme for the band.  Having some interest in it I think helps us to write more interesting lyrics.

FF: You are currently unsigned, have you been in contact with any labels since Preemptive Strike was made?

Charles: Nope we haven't talked to any thus far.  We're still waiting on that, hopefully some will like the album and give us a shout.

FF: You also have Michael Mullins on the album playing a few solos. How did he get involved with the project?

Charles: When we started laying down guitar solos we decided we wanted someone to play some more, I'm not sure how to say it, shred-esque solos on the album.  Mike is actually one of my friends who I've known for many years and I knew what he was capable of on guitar.  So we gave him a call to see if he'd be willing to lay down some tracks, he agreed, came in and proceeded to record some sick solos.

FF: Entrenced has been compared to greats like Bolt Thrower and Hail of Bullets, are you happy with how the response with the album has been so far?

Charles: Yeah that's an honor for us, to even be mentioned with such names is unbelievable.  I have to be honest its slightly surreal.  The album has been getting a lot of love which makes us happy you know.  That's really what it's all about, getting our music heard and enjoyed by others, its pretty awesome.

FF: Have you had the chance to play any shows yet?

Charles: Not yet because we're still only a two piece, we don't really wanna sell our live show short by playing without a bassist and only one guitar.  We've been on the lookout for members but have come up empty up to this point.  Down the road we may just get some session musicians if we really can't find anyone willing to play in a serious band.  We'll see what happens but we'd love to get out there soon.

FF: Were there any tracks that were recorded that didn't make the cut for the album?

Charles: No we decided to use all our material available.  The recording took quite some time, I think we spent so much time on it we felt we had to use everything.

FF: Have you planned anything for future releases or written any new material yet?

Charles: Yeah we started writing for an EP we plan to release in a few months time, a few songs in the works, nothing concrete yet.  Nothing usually gets finalized until its recorded so parts are always changing.  Should be good though, at least we hope so.

FF: How long did the writing process for Preemptive Strike last?

Charles: The writing process really only took a few months, maybe from September to November in 2009.  After that we had all the songs done, at least the basic skelaton of the songs.  Once we started recording, we'd find places we wanted leads or solos.  Actually the vocals weren't even discussed until everything else was done, we kind of filled in the vocals wherever we thought they'd sound good.

FF: Is there anything else you would like to add?

Charles: Thanks for the interview man we appreciate it.  Be on the lookout for some new merch, we're hoping to get some shirts and stickers to unleash upon the masses, stay informed and check us out at www.myspace.com/entrenchedusa and www.facebook.com/entrenchedband

Entrenched- Preemptive Strike

Entrenched is a two piece death metal band from New Jersey. The band plays a filthy brand of war torn death metal that is sure to leave all the metalheads that stumble upon this in combat shock. The album opens with the sound of sirens going off and some riffs backed by gunfire that foreshadow the impending doom that will come in the next thirty minutes. The savage style you are hearing is Entrenched, get used to it.

Obviously the lyrical themes on Preemptive Strike focus on war. Many bands in the past have used this as a reoccurring theme in death metal. Whether this release is as good as classics by bands like Bolt Thrower or newer faces like Hail of Bullets is all a matter of opinion, but when listening it is more than clear that they can hold their own with a solid portion of the competition.

The guitar tone used here has that signature crunch that fits the style perfectly. After the first few notes the listener should be fully aware of what the next thirty or so minutes will be like, raw and unflinching would be the most fitting terms to describe it. The riffs here are reasonably simple but that doesn't lessen their impact in any way. For a good portion of the playtime they play a very thrash influenced style with a little groove thrown in every now and then. This style works well for the band but when they slow down and crush the listener into oblivion is when it works best. This can be heard on the track "Anesthetic Death" which is one of the best on the album. The sound explored on "Anesthetic Death" is that punishing and brutal style that we've all heard from bands like Asphyx.

The pace that is set for Preemptive Strike is full speed ahead. The album works as a blitzkrieg attack on all of the listener's senses. It comes in, fucks you up and then gets out quickly leaving a large trail of blood behind. There is absolutely no break from the heavy, nasty sound Entrenched puts out, from start to finish you are either caught in a vicious hail of bullets or simply being brutalized. In terms of vocal style there are a few evident influences. Carcass, Deicide, and Ghoul are the first names that come to mind when thinking of comparisons. The dual vocal attack works extremely well on this release and the vocal layering packs one hell of a punch. The growls are particularly barbaric and sound far from controlled, which in regards to this style fits flawlessly.

Overall Preemptive Strike is a stripped down, no holds barred death metal release. There are no frills to be found here, just an all out metal assault. This is surprisingly good for a debut and definitely has me keeping an eye on any future releases the band might put out. So for those of you who enjoy the darker side of death metal Preemptive Strike should be a fun ride. Those who have a morbid fascination with war may also have room for this in their collection. Get it, get destroyed.

Gravehill- When All Roads Lead To Hell

"IF YOU WANT BLOOD, YOU GOT IT!!!"

Gravehill is a thrashy death metal band from California. Far from new to the scene they released their first EP way back in 2001. They broke up shortly after and didn't reform until 2007. This is their second full-length and fans of the first will not be let down. Prepare yourself for just under fifty minutes of unrelenting blasphemy. It is highly recommended to crank this at a high enough volume that the booming from your speakers will knock the crosses on your neighbors wall upside down.

When All Roads Lead To Hell begins with all cylinders firing and continues that way until it is over. Nothing fancy here just straight up, filthy, aggressive metal. On the occasion that the band does slow down the results are devastating. The slow epic sections of "Extinction" demolish everything within a fifty mile radius. Towards the second half of the album the listeners gets to hear the near "death n' roll" style that is brought forth quite a bit on this record. Aside from this there are a few heavy metal anthems spread throughout the album, and whether done on purpose or not almost everything featured on the record is ridiculously catchy.

The album is packed with killer riffs that tear you limb from limb. The tone used here is very fairly standard for the style. Just enough distortion to pack a punch and a decent deep end. The solos melt face just as expected and fit every song they are put into perfectly. The vocals on When All Roads Lead To Hell work well. Though the music is more thrashy than anything else Abominator belts out some shrieks and croaks that would seem more fitting on a black metal album. The use of vocal layering on the album shows that this will prove to be great live material (with chanting galore).

The only complaint some may have about the album is that Gravehill rarely leave their comfort zone. Honestly playing the style they play whether this is really necessary or not is all up to the listener. Gravehill have their sound and they have their sound mastered and it is clear that you won't be hearing them playing any power ballads anytime soon.

Overall if you liked the band's first full-length plan on having a good time with this one. Though Gravehill's lyrical themes would leave you to believe otherwise these guys just want to pump out some fun, badass metal tunes, and with When All Roads Lead To Hell they did nothing short of that. Fans of any and all forms of extreme metal should check this out. There isn't a dull moment on this album. Get this.