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Album Premiere: Junior Bruce – ‘Pray for Death’

I was already familiar with Floridian sludgernauts Junior Bruce when I saw them play at Maryland Deathfest. They were part of an A389 Records roster I revered. Headless King was frequently spinning on my turntable. But their songs sprang to life with Orlando’s sweat and swelter at the Baltimore Soundstage. Junior Bruce deliver Everglades sludge with urgency and purpose. The anticipation for their new record has endured since 2016’s Endless Descent opened its fanged maw. Now my Hades-bound prayers have been answered.

“The Sleeper Awakens” starts like High on Fire are kicking off another expedition through the mud ‘n’ blood. The riffs in “Terror Mounts” are so huge you might shiver in their shadows. The band dredges disarming melodies from the muck in “7,000,000 years” and “One-Nine-Nine.” But those splashes of shoegaze and post-punk help color an album that’s otherwise just as nasty as anything they’ve written. “The Basement” emerges as a career highlight by the time it fades to black. “Anti-God” is a deceptively textured 3-minute cavalry charge that roars around a central Brett Walker solo. Guided by Scott Angelacos’ distinct howl, Pray for Death is a towering sludge record that reflects a veteran band at peak power.

What struck me during Junior Bruce’s live show was they never forget they’re a rock band. During a time where most concerts have been cancelled for safety purposes, the energy of a live show permeates Pray for Death. The performances are assured and cleanly mixed/mastered by Sanford Parker without sacrificing grit. Junior Bruce have shared stages with Eyehategod, Integrity, Yob, Monolord and more. They have played with some of the best and heaviest for a reason. After you memorize this album, you owe it to yourself to see these songs live.

You don’t need to pray for an early stream, because it’s already here. Press play below and surrender to Junior Bruce’s reaper scythe. We’re honored to stream it exceptionally early for you before it’s released from Sludgelord Records on October 30th.

Pray For Death by Junior Bruce

Pre-order Junior Bruce’s Pray for Death from Sludgelord Records HERE

Follow Junior Bruce on Facebook for news and updates HERE

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Full EP Premiere: WAKE – ‘Confluence’

Canadian revelations WAKE have already done their part to distract us from the plague. Back in March they released their monstrous Devouring Ruin LP. Less than seventh months later, WAKE stir from their brief slumber with a new EP. Brimming with creativity and carnage, you can stream Confluence below before it’s released from Translation Loss Records.

“Disparity and Chaos” opens Confluence with an 11+ minute composition bridging widescreen black metal and post-metal. Skyflung lead guitars stab the storm clouds as Kyle Ball snarls through gnashing teeth. After the contemplative opener, “Beyond Empyrean” commences with a pace-changing charge. Josh Bueckert’s limber rhythms add an elusive mystique before the track’s final blasts. The opening death stomps of “Entropic Cascade Failure” return WAKE to the primal pursuits of Misery Rites before the song’s unsettling denouement. The EP is both sprawling and contained; feral and restrained. Confluence feels like WAKE let their curiosity run amok, and that’s by design.

“We feel like the momentum of Devouring Ruin propelled us forward into this record,” the band shares. “We had so many ideas and movements we wanted to work with when we were writing Devouring, and there was just a whole lot of ground we didn’t get to cover. Confluence is our place to carry on with some of the experiments we had composed and flesh them out into something concise. The recording feels like a whirring between two separate dimensions; some kind of clarity and some kind of shifted space. All of us wanted to try a whole bunch of different things and we did our best to blend them together into something still purely forceful, but that will hopefully bring to bear other questions for listeners.”

“The whole idea of this EP was to go out of our comfort zone and try some different things,” vocalist Kyle Ball expands. “This time around, I avoided writing overly personal lyrics; there’s a bit of it sprinkled throughout the album, but not a lot. The concepts on this album are about exploring the boundaries of reality and altered states of consciousness; hypothetically inhabiting these realities causing them to crash within themselves. Confluencemeaning the merger of two or more thingsdirectly plays into the artwork, as well as the lyrical themes. The album title was inspired by the album art, which depicts two realities inhabiting one space through a window or doorway.”

Embrace disparity and chaos by streaming WAKE’s Confluence below.

Confluence by Wake

Pre-order WAKE’s Confluence from Translation Loss Records HERE

And follow WAKE on Facebook for news and updates HERE

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Blast Worship: SkinWalkers

Where they from
Los Angeles, CA. Perhaps you’ve heard of this place, yes? The Lakers just won their record 17th NBA championship and the Dodgers just earned a berth in the World Series, their third appearance in the past four years. God damn, do you know what I would do to have my favorite sports teams even broach that level of success? I mean yeah, the state’s population is woefully under-represented in the senate and the electoral college, but, I mean, come on! THINK OF THE HARDWARE!

Why the hype?
One of the highlights for me last year was seeing BruceXCampbell absolutely destroy a British pub crowd at Chimpy Fest way back in the ethers of a far away land we now call 2019. Even on a stacked lineup that featured heavy hitters like Gets Worse and Despise You, the Brucey boys managed to stand out big time.

So I was delightfully surprised to have come across this one-man side project affiliated with BXC, SkinWalkers. Even though the Bandcamp description claims the project is “crust-grind,” there’s very little of that generic D-beat stuff going on here and a lot more of hyper arhythmic blast beats, very similar in style to New Jersey’s Durian. The only true crust element here is the ratty production, which though rough, fits the music rather well. If you like thick, professional production, this probably won’t be your thing, but if you like your grind to sound like a bunch of rabies-infested rats attacking an electric guitar in your stepdad’s garage, then this just might be the band for you.

Latest release?
Madness of the SkinWalkers. In Navajo terminology, a SkinWalker is a harmful witch who has the ability to disguise themselves in the forms of various animals and such. Apparently it’s hard for people to extrapolate information on the SkinWalker legend since the Navajo people are reluctant to talk about it due to it’s morbid nature. I personally think that just makes it all the more badass. It’s so hard to find anything in the age of the Internet that still has an air of mystery behind it, that when you do it has an allure that nothing else really does…GO DODGERS!

Madness of the SkinWalkers by SkinWalkers

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Track Premiere: Disrupted – “Chopped into Oblivion”

Some bands claim genre is a prison. They refuse to be defined or categorized. Well, death metal instigators Disrupted don’t suffer that inner-turmoil. Their sophomore record is titled Pure Death for a reason. Disrupted represent unadulterated Swedeath of the Stockholm strain. That means chainsaw riffage and crust punk propulsion in the vein of Nihilist, modernized like Necrot. Thankfully, Decibel has early access to Disrupted’s new single “Chopped into Oblivion.” Hopefully you know by now that we’re kind enough to share the gore. Now you can watch Disrupted stoically deliver pure death in the video below.

The first half of the song feels like hosing blood from the guillotine platform. As the serrated riffs gets sharper and sharper, the listener senses more bloodshed is on the way. Once “Chopped into Oblivion” breaks into a searing solo from Tomas Åkvik of LIK, the decapitations recommence. Disrupted’s reverence for death metal history extends to the star-studded list of guest contributors. Along with Åkvik’s cameo, the album features solos from Per “Sodomizer” Eriksson (ex-Bloodbath, ex-Katatonia) and Mats Andersson (Wretched Fate). Even Nick Holmes (Paradise Lost, Bloodbath) lends his distinct growl to a track. Pure Death says it all. If you know the difference between Nirvana 2002 and “About a Girl” Nirvana, then this is an album for you.

“Chopped into Oblivion” is a simple and straightforward song about dismembering a dead body into nothingness,” comments the band. “Besides the guest solo by Tomas Åkvik of LIK, the mandatory “UH!” in the beginning of the song is delivered by another guest named Johan Hjelm. Johan has helped us with both the recording of the album as well as editing of the video for the song. Most videos these days all look the same with a headbanging band in front of the camera, so we thought we might try a different approach to avoid just delivering yet another “live band” or “lyric video.” We recorded the video by ourselves, actually in the same house where the entire album was recorded, and used the white wall right outside the bathroom as background.”

Pure Death is set for international release on October 26th via Memento Mori on CD. The vinyl version is already available from De:Nihil Records. Press play and let Disrupted dice you in half with their new single.

Pre-order Disrupted’s Pure Death on CD from Memento Mori HERE

Or order the album on vinyl from De:Nihil Records HERE

Follow Disrupted on Facebook for news and updates HERE

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Track Premiere: Perdition Sect – “Plague of Incompetence”

The cursed year of 2020 continues challenging musicians to find ways to create and collaborate during a pandemic. For many it’s a painful reckoning. For others, it’s an opportunity to pursue ideas that may never have manifested. D-beat supergroup Perdition Sect was one such project spawned from plagueland restlessness. The worst of the virus was still ahead back on March 2nd. But after seeing The Obsessed play in Cleveland, Aaron Dallison (Keelhaul, Brian Tentacles, Axioma) and Matt Sorg (Ringworm, Shed the Skin) envisioned Perdition Sect’s feral fury. Along with drummer Kyle Severn (Incantation, Shed the Skin) and bassist Mike Lare (Ringworm), the members pictured Discharge blasting during a societal collapse. Seeing Red Records was kind enough to share Perdition Sect’s End Times debut with Decibel early so we could have our perfect soundtrack for a nuclear winter.

“Plague of Incompetence” is the first End Times single, and it’s a suitably ominous intro to the band’s fanged D-beat attack. Lare’s bass crawls from clean guitar notes like fog sweeping across an industrial hellscape. Once Severn’s drum roll explodes, the shrapnel could demolish anyone in the circle pit’s blast radius. Perdition Sect’s gang shouts and blistering riffs reimagine Discharge and Napalm Death’s seminal savagery creeping from Rust Belt factories. At the intersection of shamelessly heavy punk rock and metal, End Times spits venom from Dallison’s first snarl. This song is just one taste before the album’s release on December 11th, so brace your crusty ears. Perdition Sect has more in store for foaming-mouth mutants like you and me in the dark days ahead.

“Incompetence runs rampant in today’s society,” comments Perdition Sect vocalist/guitarist Aaron Dallison. “Mass quantities of people seem incapable of caring and/or executing simple tasks, and it is extremely prevalent in the people who lead us. In this regard we as a whole sit back and complacently watch it as if it is entertainment.”

Take a break from slacking off and listen to Perdition Sect’s first single below. Stretch your spine and get ready for whiplash before Seeing Red Records releases End Times on December 11th.

End
Times by PERDITION SECT

Pre-order Perdition Sect’s End Times from Seeing Red Records HERE

Follow Perdition Sect on Facebook for news and updates HERE

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Album Premiere: Furnace – ‘Dark Vistas’

Brooding melodeath with a Gothic flair that never dulls the album’s serrated riffs. Infected with Lovecraftian lore and cosmic horror. With its B&W cover illustration and tentacled menace, Furnace‘s Dark Vistas looks like a demo unearthed from the early ’90s. But once you press play, Furnace’s second release of the pandemic year is a self-assured ode to seminal death/doom. What if Katatonia and the Peaceville Three retained their death metal harshness as they embraced goth rock and post-punk sensibilities? It might sound like Furnace’s captivating concept album, Dark Vistas. Decibel Magazine has heaved sacrificial offerings into the abyss to secure access to the record ahead of its October 9th release from Soulseller Records.

Despite the comparisons above, Furnace isn’t even close to being a parasite sucking the blood from genre pioneers. From the first midnight melodies of “Suburban Nightmare,” Dark Vistas has a cinematic swagger all its own. Lars Demoké’s drums largely opt for rock beats that anchor the heft of each song. Instead of leaning towards the introspective heartache of mid-’90s downcast death/doom, the album snarls instead of succumbing to solemnity. Frontman Rogga Johansson’s riffs and growls would rather open a portal and welcome interdimensional terrors than weep into a funeral shroud.

The record bursts with inspired textures that pair dreary atmospheres with the snarling fangs of death metal. There are the gang shouts from bassist Peter Svensson punctuating “The Other Ones” and “Trapped.” The contagious chorus of “94 Bloch Lane” lures listeners in before blindsiding them with feral guitar licks. The record is bookended beautifully with a melody that could lure The Great Old Ones from slumber. Step through a cosmic gateway and experience Dark Vistas all the way through “Another Ending.”

Listen to Swedish death from the blackest void by streaming Dark Vistas below. Press play and surrender to the album’s Lovecraftian grip NOW.

Pre-order Furnace’s Dark Vistas in the Americas HERE

Or pre-order from Soulseller Records worldwide HERE

Follow Furnace on Facebook for news and updates HERE

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Album Premiere: Empress – ‘Premonition’

Vancouver post-metal project Empress are refreshingly candid about their band’s origins. The genesis of the band is linked to the majesty of witnessing psych heavyweights Elder live. But Empress isn’t a tribute project or defined by shallow mimicry. After their supernova of inspiration, Empress has explored introspective themes across their introductory releases. Now they’re releasing their debut LP Premonition, scheduled to be uncaged on October 9th. The album will be released by new Hammerheart Records sister label, Petrichor. Lucky for you, we have an exclusive stream of the full record 9 days early.

From the first bars of “A Pale Wanderer,” Premonition pours from an open heart. Whether they’re basking in lunar melodies or unleashing blastbeats, Empress retain an emotional core throughout Premonition. The opening track slyly dips into sun-warmed psychedelia before taking shelter in the shadows of nocturnal shoegaze. The crawling bass of “Sepulchre” invokes Conan’s heft if they sang about slaying mental illness. “Passage” coils around a sizzling guitar solo. Disembodied from the record, the tortured blasts of “Trost” feel like they’re on a different planet than the muted menace of “Hiraeth.” But the progressive post-metal of Premonition boasts a wildly eclectic of influences. Despite the variety, the album feels cohesive. Each song solemnly burns the same funereal incense. By the time the roar of “Lion’s Blood” fades, Empress personifies catharsis across 49 minutes of evocative heaviness. The album is dedicated to the memory of bassist Brendan Gunn, who unfortunately left us last October. The agility of each song’s composition feels like the spectrum of human emotion. Loss and melancholy. Ensuing rage. The warmth of remembrance.

Listen to Premonition below before it’s released on October 9th from Petrichor. Surrender to the lush melodies and jagged aggression by pressing play NOW.

Premonition by Empress

Pre-order Premonition from Empress on Bandcamp HERE

Follow Empress on Facebook for news and updates HERE

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Album Premiere and Interview: Miasmal Sabbath – ‘Ominous Radiance’

When Miasmal Sabbath formed in Northern Greece, the goal was to bash out crusty death metal informed by D-beat punk. Their eponymous 2016 EP featured a rancid sound comparable to Necrot’s primordial recordings. But just a year later, their 2-track EP Ascension of the Foulest revealed a band with pursuits beyond this plane of existence. Those psychedelic seeds have now fully blossomed on their debut LP, Ominous Radiance. Decibel Magazine has the pleasure of sharing Miasmal Sabbath’s mind-expanding opus before it’s released from Unholy Prophecies on September 25th.

The album’s title foreshadows the brutality and unearthly beauty that awaits. The instrumental intro crawls from a vortex of poisoned starlight. That atmosphere bleeds into “Celestial Prodigy” before splintering into a flurry of death punk passages. Throughout Ominous Radiance, Miasmal Sabbath show they’re adept at stomping through the sewers and soaring through the pitch-black cosmos. “The Oracular Voice” and “Ghostly Aura Bathed in Stellar Luminescence” both conjure memories of Morbus Chron’s own aesthetic metamorphosis. Album epic “Umbra Mortis” takes turns easing into outer realms before exploding like a supernova. By the time the album fades to black, it seems like Miasmal Sabbath has changed forms. While they shed their husk of of D-beat death metal, the band has not abandoned their extremity. They have reshaped their power into an album that is both pensive and urgent. Miasmic Sabbath use death metal as a portal to new worlds. Take a listen and step through the portal with them.

Come join these celestial prodigies on their ascent and stream Miasmal Sabbath’s Ominous Radiance below. Headbang in the ether and press play NOW.

Ominous Radiance (CD) by MIASMAL SABBATH

Decibel Magazine interview with Miasmal Sabbath

How did the members of Miasmal Sabbath meet, and what were your goals for the band’s sound when the project started?

Chris and I played together at another band at the time of Miasmal Sabbath’s inception. We used to jam before and after the rehearsals some stuff I had in mind for a band in the vein of Murder Squad. I remember I had maybe two tracks and some other riffs and ideas. Maybe even the overall aesthetic and concept, which is pretty evident in the first EP. At some point we felt that it would be cool to add a second guitar or maybe bass guitar and Chris pointed out that a friend of his should fit perfectly. So Orfeas came to the picture about four months after the initial jams.

The title Ominous Radiance really captures the album’s dark occult/psychedelic atmosphere. I felt like your song “Ascension of the Foulest” was a hint at a change in style and sound from the first EP. Were there any additional changes to your songwriting or style you wanted to make for this record?

One day I was watching a movie and it had like really dark music playing on the background and at some point it says on the subtitles “ominous music playing.” I thought that’s exactly the feeling our music should reverberate. We also felt that a more organic approach in terms of production should fit the overall concept and give that spacey psychedelic vibe that resonates throughout the album. Maybe you could say that “Ascension of the Foulest” is the middle ground between the other two. I think that was its purpose after all, at least in my mind. I felt that we were onto something different musically in terms of songwriting as we kept rehearsing and that song was chosen to bridge the gap between a shift in style or maybe an evolution in style, if you wish.

What lyrical themes do you enjoy exploring in the band?

The lyrics on the first two EPs are more direct and nihilistic, but with an allegoric approach. They mostly concern the realization of the terminable nature of existence. On this album we took a different path, one that fits the music and the whole atmosphere. [It focuses] more on the occult and spiritual concepts, and about death as well.

Your songs have so much feral energy; perfect to hear and experience live. While touring is not happening in the United States, can you share one of your favorite memories from one of your live performances?

The truth is that we never played a single gig with the band. We mostly get together to work on new music and then book studio time to record. But now we have an album almost out so we are talking about getting a bassist. As you said, it would be great to bring all that feral energy on stage for the people to experience Miasmal Sabbath’s spacey vibe at last.

What’s next for Miasmal Sabbath for the rest of this cursed year of 2020 and beyond?

We hope people will like the album and we will try to make some live appearances if possible to bring all the energy on stage. We’ll also keep writing and rehearsing new material for future releases.

Pre-order Miasmal Sabbath’s Ominous Radiance from Unholy Prophecies HERE

Follow Miasmal Sabbath on Facebook for updates HERE

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Album Premiere and Interview: Laser Dracul – ‘Hagridden’

Four years ago I was enchanted by the doom ‘n’ roll swagger of Laser Dracul‘s eponymous four-song EP. In that premiere I wrote “Swedish doom trio Laser Dracul are the children of the night, and the music they make is LOUD.” Shutter the windows and leave garlic hanging in the doorways, because Laser Dracul’s debut LP is imminent. Hagridden will be released from Majestic Mountain Records on September 25. Luckily, Decibel has the record for you over a week early to satiate your bloodlust.

From the first rollicking bass line of album opener “Ashes and Dust,” grave-digging grooves permeate Hagridden. Like Black Sabbath and Cathedral and Orange Goblin, Laser Dracul never lose sight of being a rock band. There’s a spliff-smoking bounce and whimsy to the record that’s precursory to the shadowy themes. Despite the nocturnal crawl of “High Tide Striding,” they don’t strictly dwell in darkness. Around halfway through that song they reshape the central riff with a swaggering rhythm and eerie organs. “Into the Night We Go” stands out as an album highlight with Henrik Östensson’s serpentine drum-rolls accompanying Michael Brander’s midnight croon.

The album does experience a tonal shift with the downcast melodies of “Now You See It” and “Ill in Spirit.” They both block the sun’s warmth before bruising closer “Mother Midnight” trudges through the mud. But Lars Bergfält’s riffs are more than bludgeoning implements. They enchant and enrapture with psych flourishes while maintaining that rock edge. Hagridden is for fans of self-assured, no-frills loudness. Welcome to one of your new favorite doom bands.

Succumb to Laser Dracul’s Hagridden and stream the record below. Press play NOW before the album is released from Majestic Mountain Records on September 25.

Hagridden by LASER DRACUL

Decibel Magazine interview with Laser Dracul drummer Henrik Östensson

Your bio mentioned the members met over a few beers 15 years ago. Do you remember what conversation topics that day made you realize the foundation of a band was possible?

HO: It was probably more like twenty something years ago, I’d say. The bands we were in then (Lars and Mike were in one, I was in another) rehearsed at the same municipal complex in our hometown. So, we weren’t exactly complete strangers when we started running into each other on weekend nights at
our local hangout. I can’t say what was said verbatim, but I’m sure it would have been about comparing musical references and sharing memories of drunken festival feats. We became mates and sometime later and they asked me to join their band, since their drummer wanted to play guitar instead. I accepted and joined. First Degree Murder was the name of their band!

It’s been 4 years since the band’s debut, and this album feels well-worth the wait. Were there any changes you wanted to make to your songwriting and style for Hagridden?

HO: Not exactly. We definitely took our time making with these songs and worked a bit differently. We brought nearly complete songs to the metaphorical table individually, instead of just jamming out and piecing the puzzle together, as we had done before. For some reason I thought this would make the process easier, but it wasn’t. It was a bullet to the foot, so to say. We shan’t apply this method of procedure again. Stylistically we have incorporated some faster material, just because we wanted to. What comes comes and if we like it, we use it. Should we see fit to use a banjo or accordion or cover a Barry Manilow tune, we will. Do you catch my drift? We’ll always do whatever feels necessary to convey our vision of the song.

Your debut included references to regional folklore. Are there any provincial tales featured in Hagridden?

HO: Well, I can say that there are a few expansions on those themes. But there are also stories that touch upon more contemporary topics like nuclear extermination and opiate pandemics. Then there’s torment of the soul, religious rebellion… Which is not to say that we have made a permanent move to the ‘now.’ We will always try to fathom the superstitious fears of hundreds of years ago, because that is what Laser Dracul is about; folkloric notions of wraiths, witchcraft and creatures who crave blood. You may rest assured.

The album and guitar tone both sound huge. What brought you back to Sellnoise Studio to record Hagridden?

HO: Jonas Arnberg–the man behind the studio–is someone we trust and rely on to bring out the best version possible of our material. “Maybe if you sing it like this? Hit harder! No, that won’t work at all…” He is patient but not afraid to say what he thinks works and what doesn’t. I think Lars and Michael had employed his services with another band just before Laser Dracul, so they already knew him. Back then, when we recorded our first EP, he just had a room in the back of his garage. This time he had really put some serious cash and effort into everything, building a separate recording room and vocal booth. Very professional. Hence that larger sound. Plus, he makes a good cuppa coffee!

What do you have planned for Laser Dracul during the rest of 2020 and beyond?

HO: There’s not very much left of this year to plan, is there? We can only hope that the Coronavirus situation settles enough so we can get out and perform for people who wish to see us. In the meantime, we’re just going to jam out more songs as we have plenty of ideas whirring about; dig our
graves in the forest and polish our coffins, in case the virus brings our civilization to a coughing end.

Pre-order Laser Dracul’s Hagridden from Majestic Mountain Records HERE

Follow Laser Dracul on Facebook for updates and adventures HERE

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Album Premiere: Evoke – ‘Seeds of Death’

From the first thrashing sprint of “Deadly Revenge,” Norwegian speed-demons Evoke deliver the fiery fury promised by the record’s demonic cover art. Seeds of Death is the band’s debut after sharpening their fangs on a couple demos, and it brims with exuberant brimstone. Luckily for you, Decibel Magazine has an exclusive stream of this superlative slash ‘n’ dash offering ahead of its official release. Pulverized Records will be repping this record and releasing it for global consumption on September 18th.

By the time you reach the third track “Souls of the Night,” you know the only rules Evoke follow are Sarcófago’s The Laws of Scourge. There’s a wild-blooded energy to Seeds of Death that makes the heart pump black blood faster and faster. But they’re not content to just race the devil to the finish line in every song. Sure, “Wrathcurse” has plenty of fret-flaying speed riffs. But over the course of its 6+ minutes, there’s a dizzying array of tempo shifts to keep the listener engaged. “Demons of War” returns to the warfare noise of South American thrash. But album finale “Satanic Rebirth” begins with an uncharacteristically patient mood-building intro. After a mosh-friendly stomp it’s back to blackened deathrash with all of its furious flourishes. Solos hot enough to start infernos. Drums pummeled into dust. With 90 seconds left in the 33 minute record, the song’s last breath is an exhale of punk defiance. Seeds of Death will appeal to fans of countrymen Aura Noir and those who like raw, filthy speed metal. Evoke’s first love might be ’80s extremity, but there’s nothing tired or redundant here. Seeds of Death feels urgent down to the last cymbal smash.

Stream Evoke’s Seeds of Death below and succumb to one of the year’s best speed/thrash albums. Listen before it’s released from Pulverized Records on September 18th and press play NOW.

Seeds Of Death by Evoke

Pre-order Evoke’s Seeds of Death from Pulverized Records HERE

Follow Evoke on Facebook for news and updates HERE

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