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Posts Tagged ‘Father Befouled’

So, although Spinal Tapdance’s Top 30 Metal Albums of 2010 will post in three installments over the next few weeks (in addition to the Top 20 also appearing at MetalReview), this was such an excellent year for heavy metal that I just couldn’t bear calling it quits at 30.  So, perhaps to whet your appetite for the Real, Official Top 30, I present Spinal Tapdance’s 25-album strong Honorable Mentions list.  This list is only somewhat loosely organized, and in lieu of the traditional straight description of why the album smokes one’s face off, I will instead be penning a haiku for each contender.

The astonishing caliber of heavy metal represented on this list should be some indication of the strength of this year’s output, so read on, and take heart – there’s more yet to come!
—————————–

1.  Alcest, Écailles de Lune


Shoegaze and jangly
black metal is so soothing;
why am I crying?

2.  Horseback, The Invisible Mountain

Slow songs, long songs; songs
ride one groove forever, but
are fucking awesome.

3.  God Dethroned, Under the Sign of the Iron Cross

Faster than last one,
less epic but still rad, Re:
War to end all Wars.

4.  Early Graves, Goner

Fast, short, furious
grinding madness breaks your face –
Hail, fallen comrade.

5.  Ehnahre, Taming the Cannibals

Alien noise and
modem vocals make this one
venomous and odd.

6.  Black Anvil, Triumvirate

No nonsense metal
that gives no shit ’bout genres;
bang your goddamn head.

7.  The Howling Wind, Into the Cryosphere

Ex-Thralldom guru
makes a grim ascent to the
ceiling of the world.

8.  Weapon, From the Devil’s Tomb

So many riffs, so
little time to catch my breath
from so many riffs.

9.  The Secret, Solve et Coagula

Grind and black and doom
and ambient noise from the
most boot-like nation.

10.  Winterfylleth, The Mercian Sphere

Epic black metal
by nationalists, but hey!,
they are from England.

11.  Salome, Terminal

“Let’s play some slow riffs,
then put a tiny demon
on the mic – shit yeah!”

12.  Kylesa, Spiral Shadow


“Hey, ‘member the 90s?”
“Fuck you, this is still metal.”
“‘kay, let’s jam some more!”

13.  Electric Wizard, Black Masses

Like that time you got
stoned and joined a cult but then
fucked and played some doom.

14.  Celestiial, Where Life Springs Eternal

Funeral doom is
more like ambient when it’s
this fuzzed, nature-y.

15.  Vasaeleth, Crypt Born & Tethered to Ruin

You like death metal,
right? So, go live in a swamp
and kick ass at it.

16.  Aborym, Psychogrotesque

Classy shit, even
though the cover art is the
worst thing ever, yo.

17.  Sailors with Wax Wings, Sailors with Wax Wings

Pyramids dude, how
did you get these sweet people
to jam with your band?

18.  In Lingua Mortua, Salon des Refuses

Jittery and black
and smooth (with sax); better than
Vulture Industries.

19.  Cough, Ritual Abuse

A better ‘lectric
Wizard album than ‘lectric
Wizard did for years.

20.  Twilight, Monument to Time End

Call this the Atlas
Leviathan, if you want –
texture, ‘pocalypse.

21.  Coffinworm, When All Become None

Such a mean-sounding
band, but in all the right ways
(not a vagina).

22.  Anathema, We’re Here Because We’re Here


Twinkly emo songs,
or the truest sad music
your dumb ears can take?

23.  Father Befouled, Morbid Destitution of Covenant

Incantation, plus
Immolation, plus choirs and
other shit is boss.

24.  Cephalic Carnage, Misled By Certainty

Make death/grind, add your
own sound effects, then try to
keep count: you will fail.

25.  Void of Silence, Grave of Civilization


Dude from Axis Of
Perdition sings like Roman
God; plus, epic doom.

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Stay tuned for more end-of-year coverage from your pal here at Spinal Tapdance.  Cheers!

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The Dead, Ritual Executions (2010)

Claustrophobic avant-sludge doom/death with jaunts into funk? Yes, please.

Australia’s The Dead self-released their sophomore album Ritual Executions last year.  2010, however, sees them freshly signed to India’s newly-launched Diabolical Conquest Records, with Ritual Executions getting a remastering job, updated artwork, and seeing a proper label release.  A murky hybrid and death metal and doom is the order of business for this Australian trio, but we’re not talking the doom/death of early Peaceville mopesters Anathema, Katatonia, Paradise Lost et al; instead, this is more like the dank, doomy, crypt-like death metal of early Incantation, or the quicker moments of legendary gut-wrenchers Disembowelment (though, in all fairness, if Incantation worship is your cup of righteous tea, the new Father Befouled album out on Relapse ought to be destination one).

The album starts off with a slow dirge of a song in “Burn Your Dead,” with a pleasantly thick, skull-rattling bass tone on the arpeggio riffs.  Vocalist Mike Yee demonstrates some abominably deep, guttural death tones, which are mixed in such a way as not to overpower the music, but still somewhat higher in the mix than many similarly-pitched vocalists, in a manner which verges on the comprehensible.  The closing sections of “Burn Your Dead” utilize an effective rhythmic compositional style to drone out with – a measure of 4/4 time followed by a measure of 3/4 time.  It’s a fairly simple tool, but it demonstrates that some deliberate thought has gone into the crafting of these tomes of death.

If you’ve picked up on that, though, later track “Centurian” is a bit of a let-down, since it, too, boasts that same meter (though in a somewhat more straight-forward 7/4 attack) for pretty much its entire duration.  The vocals also become somewhat monotonous as the album wears on, although not so much that they detract terribly from the masterful display of grooving, doom-tinged death metal.

The production isn’t quite gritty or fuzzed-out enough to push this album into sludge territory, but some of the songwriting veers in the direction of booze-drenched misanthropy.  There are a few frustrating quirks to the drum production, though.  The hi-hat has got a weird buzz to it, and the kick drum could stand to be mixed a little higher.  Still, it’s not overly clean, and although it rings somewhat hollow, the drum production still sounds like a real person pounding away on a real kit.

The album works effectively as a whole because of the band’s strong compositional skills, and the smart sequencing of tracks to alternate between trudging epics and more in-your-face, aggressive death metal blasts.  Some of the quicker tunes like “Cannibal Abattoir” show a very sprightly, almost jittery style of drumming (particularly in the snare drum work), which is occasionally reminiscent of a slightly less-busy Brann Dailor from Mastodon’s early work (think Remission or even Lifesblood).  I’m also not sure if it’s just because I’ve been listening to too much Kylesa lately, but I swear that some of these faster moments have a similar psychedelic feeling in the riffing.  At any rate, if the prospect of this type of doomy, well-composed death metal with non-obtrusive psychedelic touches gets your blackened heart all a-flutter, then you would do well to check this album out.

The funk drumming breaks in “Born In a Grave” are a bit jarring, but ultimately provide an interesting contrast to the more standard death metal signifiers used throughout.  The latter sections of this song, however, have some great, cavernous echoing effects to match the atmosphere of patient, plodding doom, and actually turn this track into one of the album’s highlights.  The build-up and eventual release around the five-minute mark (“BOOOOOORRRRRN…IN A GRAAAAVE”) is absolutely fantastic, and leads me into a near-apoplectic fit of wanting to smash furiously anything within reach.  Hide the china.

Other excellent moments include the groovy riff and breakdown around 1:30 into the title track, which is seriously crushing.  Think of the bulldozing momentum of Bolt Thrower or Asphyx, and you’re well on your way to grasping the effect of concrete slabs dropped repeatedly on your head.  The closing track “Death Metal Suicide” is a quite interesting change of pace, offering up another set of pretty funky grooves, especially in the drumming.  Whatever else you may think of it, it’s an extremely bold choice, playing a ten-minute long, funk-influenced instrumental jam to close out one’s album in a genre as frequently myopic and orthodox as death metal.

Some of the more avant-garde moments on this disc recall queasy death metal savants Gorguts (circa Obscura, primarily) and Portal, the latter of which may be more than a coincidence, as Ritual Executions was remastered by Aphotic, one of the guitarists from Portal.  The Dead don’t ever quite reach the same level of otherness (or what-the-fuck-ness) as either of the aforementioned bands, but it’s clear that they are drinking some of the same fetid water.

In general, the mélange of styles offered on this record ends up meshing rather well into a unique death metal whole.  Fans of the already-mentioned unsettled death metal acts Portal and Gorguts may find much to enjoy here, as will fans of the more strictly deathly side of doom/death metal.  One of the primary references which continues lurching into mind is Lasse Pyykkö (of Profound Lore’s Hooded Menace, as well as Phlegethon, Vacant Coffin, Claws, etc.), fans of whose should flock to this Australian cult with morbid glee.  Diabolical Conquest Records have found themselves a real winner of an album here, and I will be eagerly following future releases from this grimly determined band.  If Tom G. Warrior is to be believed, and only death is real, then get yourself a copy of Ritual Executions for a sledgehammer dose of heavy fucking metal reality.

Overall rating: 80%.  “BOOOOOOORRRRN…IN A GRAAAAAVE!!!”  Doesn’t get much better than that, friends.

More information on Diabolical Conquest Records is available at their website, where you can also order a copy of Ritual Executions.

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