The Black Dahlia Murder Plus Guests!
The problem of dropping a record as career-defining as 2013's Everblack is that the bar is set so high following it up is a galling task. That The Black Dahlia Murder's response to such a challenge comes in the form of the devastating Abysmal serves to once again demonstrate why they are considered one of the most vital bands in contemporary death metal. "Once the record started to come together we knew it was going to be something special," states vocalist Trevor Strnad. "It's more urgent, it has more dynamics, it's a more emotive record, and it has a more raw, angry sound to it. It's still million mile-per-hour death metal, but when you invest so much thought and emotion into what you're creating you end up with a record that does stand out, and we can hold our heads up high and say yeah, this is our best work."
Since 2001, the Michigan quintet have focused their efforts on writing music that embraces all the finest qualities of melodic death metal yet does not shackle them, giving them room to constantly evolve and grow as musicians. With Abysmal the band have once again progressed while retaining the signature sound that has won them their devoted legion of fans, and making it clear that their best is not in their past. "I still love Everblack and everything we achieved when touring it, and in fact going into that record we faced a massive challenge in following up Ritual (2011), which had also been huge for us. Having two records in a row connect with fans in such a way was amazing, but definitely piled on the pressure going into this new one, because we don't want to let them down, and we don't want to let ourselves down. But we learned a lot in making those two records, and we brought that into Abysmal. We know we can take people's heads off playing super fast, but that doesn't always give listeners something to really chew on. We've learned to focus on creating some drama, interesting dynamics, and most importantly really investing time in thinking about how different parts of songs will make you feel." While crushingly violent, Abysmal is certainly a long way from being a two-dimensional blast-fest. Often evoking potent melancholy or icy unease, tragedy and apocalyptic gloom also insinuate into the songs alongside the all-out fury, for make no mistake, while this record boasts a variety of dark and atmospheric moods the band have perhaps never sounded so downright pissed. The likes of "Re-Faced" and "Threat Level Number Three" are purpose built to incite chaos, and some of the fastest material the band has ever unleashed explodes from the likes of opener "Receipt", "Asylum", and the haunting title track. This can largely be credited to drummer Alan Cassidy, who joined the band in 2013. "With both Alan and Max (Lavelle, bass) new to the band there was a lot of speculation ahead of dropping Everblack, and though we knew we had a great record it was nice to prove the naysayers wrong. This time out Alan was really able to stamp his identity on the record, and yeah, there was a point where Brian (Eschbach, guitar) said level with me dude: just how fast can you go? And Alan unleashed this thing and we were like okay, let's go faster than we've ever gone then!" Strnad laughs. "But it's not just that, he's injected so much style into everything. He writes really interesting fills, and he cares about having variety and really speaking with what he's doing, and he was involved with the song writing more than any other drummer has been in a long time." Strnad is just as keen to sing the praises of Lavelle, who also made a more substantial contribution to the record than he did to its predecessor. "We look back on every record and say we need more bass, and Max is a really prevalent part of things live, so we wanted to have that come across more, and he totally nailed it. It's definitely a dirtier bass sound than we've ever had too, which sounds more wild, more live, and adds to the punch." Guitarists Eschbach and Ryan Knight bring a cavalcade of riffs to the table, upping the stakes in technicality, melody, and sheer blunt force trauma, letting intoxicating flavors of black metal and NWOBHM creep into the vicious assault, and Knight's soloing is at a point where Strnad believes his name should rightfully be thrown in amongst the genre's most prominent shredders. "With every album we allow a bit more time for him to solo and just totally own it, and when he nails it he's really at that Megadeth Rust In Peace level. I do think he deserves to be spoken about in the circles of great metal guitar players. Marty Friedman should buy Ryan a beer, I think, and I genuinely don't see that as something really out of the ballpark."
At this stage in the game, with typically modest aspirations, Strnad is more interested in maintaining their longevity than shifting records, and if the band never gets any bigger than they are right now he will "die happy a hundred times over". However, this does not mean there is anything even vaguely resembling an end in sight. "We're still young at heart and I feel like the evolution of the band still has a long way to go. I don't see a ceiling on what we can do, and there will be no end. It's just going to be a constant ongoing fight to make better music and be a better band, and it's always going to be time to kick ass."
In death metal history, Suffocation stands unique for fusing the technical with the percussive, brutal "older" styles of death metal as well as for being emulated more than any other band. Forming in 1989, SUFFOCATION quickly released their 3-song debut Re-incremation. Within weeks of its existence came the interest of many labels who wanted to claim stake to the first SUFFOCATION full length album. The band chose to release it's follow-up, “Human Waste” Ep, through Relapse Records in 1991. Complex and unrelentingly savage, "Human Waste" saw Suffocation bash out the beginnings of death metal's most visible style, the "New York" combination of blasting grind core beats and metallic textures. This was only but the beginning... In 1991The now classic, “Effigy of the Forgotten” was released via Roadrunner Records. Effigy... took the rhythmic relentlessness of hardcore beats, put them into speed metal structures and overlaid off-time counterpoint structures. "Effigy of the Forgotten" took SUFFOCATION to a new plane, taking the multiple languages of music and unifying them in an evocative, thundering chorus of death metal. In 1993's the band released their 2nd full length album “Breeding The Spawn” via Roadrunner Records.
Thunderously heavy and rigorously artistic, "Breeding The Spawn" surpassed expectations. Highly rhythmic, Suffocation's second album built on the legacy of their first with more emphasis on the bearing weight of repeated changing / off time rhythms (see later day practitioners MESHUGGAH) and a SLAYER-derived sense of melody.. After the release of “Breeding the Spawn” SUFFOCATION hit the road for months on end bringing their jaw-dropping live performances to both their devoted legions of followers, and hordes of wide-eyed new devotees.. Following the release of 1995's “Pierced From Within” via roadrunner Records, SUFFOCATION embarked on successful tours of Europe, Canada, Mexico, and the United States, playing to thousands and enjoying increased album sales. In 1998, Suffocation released the EP, “Despise the Sun” via Vulture Records. "Despise the Sun" contained A savage example of engaging, energetic and insightful death metal with no letup in intensity. In September of 2000 Relapse Records reissued “Despise the Sun”.
Most American death metal painted itself into a corner years ago, but SUFFOCATION, through musicality, inventiveness, and sheer conviction, continue to invent ways to push the envelope and inject personality into the Extreme metal genre. "Suffocation", the album, is a multi-dimensional death metal feast that never forgets its primary mission to beat the listener into submission. In 2006 the band was hired by the cable network A&E and the History Channel to use and perform one of their original songs “Bind, torture, Kill” in a commercial to advertise the History Channel documentary “The Dark Ages”. This commercial was advertised in over 700 movie theatres as well as aired on MTV, VHI, A&E and the History Channel. This opportunity helped to further propel the bands already legendary status amongst the pioneers of all things extreme.
For the better part of their 16-year existence, California-based death metallers Decrepit Birth haven’t followed the rules. From debut album, 2003’s …And Time Begins, to new album, Axis Mundi, they’ve shuffled the tried and true tenets of death metal into something defiantly other. Certainly, the Surf City denizens have written and continue to write—check out the pit-destroying ‘Transcendental Paradox’ off Axis Mundi—brutally brutal music, but after years of purveying labyrinthine riffs and blasts at light-suffering speeds, they’ve transcended, they’ve transformed, they’ve gone beyond. Decrepit Birth in 2017 aren’t entirely the same band that unfurled …And Time Begins in their twentysomethings.
With remarkable songs—check out ‘Hieroglyphic’—, an exceptional production, and high concept lyrics, Decrepit Birth will re-shape death metal on Axis Mundi. They’re blasting the doors of convention wide open, paving the way for future generations to explore beyond death metal’s four proverbial corners. Much like the band’s influences from the early ‘90s, Decrepit Birth have different optics on the genre and what has meant and continues to mean. Of course, Sotelo sees Axis Mundi from an entirely pragmatic viewpoint.
“I don’t know if we’re going to re-shape death metal,” he counters. “We’re just a band. We’re doing this. We’re fans of the genre. We do our own thing with it. It’s our own paint job. What sounds cool to us. We don’t aspire to be the most technical band out there. The technicality isn’t our main goal. Technicality is part of what we are. When we were writing this album, we wanted the songs that had riffs that repeat. There’s more structure with our new stuff. We’re trying to write good music. We want entertain people out there. Hopefully, everybody likes Axis Mundi.”
An early incarnation of the group started as more of a hardcore/punk band but as the band’s influence of Celtic Frost, Darkthrone and Disfear started showing up more in their music, they chose to rebrand themselves as WORMWITCH. The quartet released their first EP, “The Long Defeat” in October 2015 and by early 2016 had already premiered a new track, “Coffin Birth”, which No Clean Singing described as a “high-octane rush of deep, grinding riffs, piston-driven drumming, and thundering bass, with a heavy-as-hell production.” It was then that they caught the attention of PROSTHETIC RECORDS and soon a worldwide deal was struck.