Lmst

VICIOUS RUMORS Announce New Album 'The Devil's Asylum', Share 'Bloodbath' Single

https://blabbermouth.net/news/vicious-rumors-announce-new-album-the-devils-asylum-share-bloodbath-single

#ViciousRumors #TheDevilsAsylum #Bloodbath #GeoffThorpe #LarryHowe #RobinUtbult #Chalice #DenverCooper #PowerMetal #Steamhammer

Eaten!

https://song.link/i/279780820

#Bloodbath \m/

Tonight is shaping up as the first time I am actually looking forward to seeing Dutton step up to speak.
#AusPol #Bloodbath #NiceOneDickson

Tesla Drops Over 10%, Outpacing Market Bloodbath and Erasing $12 Billion of Musk’s Wealth in Just One Day

The #bloodbath in the #markets in the wake of President #Trump’s new #tariffs hit #Elon #Musk’s #Tesla especially hard Friday, knocking the price down over 10% and evaporating with it a chunk of the world’s richest man’s wealth.

https://www.mediaite.com/news/tesla-drops-over-10-outpacing-market-bloodbath-and-erasing-12-billion-of-musks-wealth-in-just-one-day/

#Trump2.0 #BlackMastodon

Every kill at Gala cut down to 60 seconds!! 🔫⏱️😁 #bloodbath #blackops6 #frenzykill #smallstreamer #twitchclips #callofduty #smallstreamersconnect

Frank Zappa - Don't Eat the Yellow Snow
https://song.link/i/1440928429

Bloodbath - Eaten
https://song.link/i/1045200759

Rammstein - Mein Teil
https://song.link/i/1445751562

Symphony X - Absinthe and Rue
https://song.link/i/1197836037

Aerosmith - Eat the Rich
https://song.link/i/1680799202

#ThursdayFiveList #SongsAboutFood
#FrankZappa #Bloodbath #Rammstein #SymphonyX #Aerosmith

I just listened to _Survival of the Sickest_ by Bloodbath—released in 2022. Hands down Bloodbath has become one of my all-time favorite death metal bands. They stay true to old school Swedish death metal and keep it relevant today. I'm also floored that Barney Greenway of Napalm Death did guest vocals on one of the tracks. It was indeed a pleasant surprise. I highly recommend it if you like this genre.

#deathmetal #bloodbath #music

#bloodbath

Bloodbath: Joint Chiefs chair,...

Let's see what I can achieve mixing Bloodbath's "Mock The Cross". It's cool to have the opportunity to mix a song with Mikael Åkerfeldt on vocals 🤘

#mixing #bloodbath

🔥 New Artist announced for Party.San Metal Openair 2025

Bloodbath

Listen to the current LineUp on YouTube, YTMusic and Spotify: https://fyrefestivals.co

#Party.San_Metal_Openair_2025 #Bloodbath #fyre_festivals #livemusic #youtube #spotify #music #2025 #musicfestivals #announcement

Pyre – Where Obscurity Sways Review

By Dear Hollow

Swedeath is one of those games I have zero skin in, but its close overlap with hardcore-influenced death metal and death ‘n roll makes that relationship complicated. Like I could not be bothered by Left Hand Path, but Wolverine Blues is a stalwart among my music collection; Bloodbath is regrettably not an act I return to regularly,1 but I consider Black Breath one of those rare successful intersections of grind, death metal, and death ‘n roll. My point is, I don’t know where the line is drawn between these styles but I know I like some of it and then can’t be fussed about the rest of it. With Pyre, the jury’s still out.

Where Obscurity Sways is the Saint Petersburg quartet Pyre’s third full-length, and it wavers between full-on Entombed worship and something resembling Fuming Mouth. Professing a frigidity more closely resembling black metal coursing throughout, Pyre offers chunky riffs, feral vocals, tense tremolo and chuggy shreds, and a bouncy sense of ubiquitous buzzsaw and passages of doomier tempos, alongside a wailing lead guitar whose rip-roaring solos are owed to multiple members’ contributions to the traditional heavy metal sister act Blazing Rust. Pyre throws the kitchen sink at us, blurring the lines between hardcore- and Swedeath-influenced death metal, boasting that black metal chill and no-holds-barred attitude – only for Where Obscurity Sways to go in one ear and out the other.

That’s not to say you won’t swing your fists and break your neck across Where Obscurity Sways. Big groovy meatheaded fun is front and center with Pyre, a monosyllabic approach that’s as effective as its moniker, despite its various experimentalisms. In the sweet spot that finds itself between chunky riffs, wailing leads, and punishing weight at the mercy of the shifting tempos (“Murderous Transcendence,” “Writhing Souls”), the album pumps adrenaline, utilizing sticky chugging riffs as both capitalization of crescendo and simmering burn. When black metal rears its despondent head (“Murderous Transcendence,” “Prognostic of the Apocalypse”), the sound is transported to a cold second-wave atmosphere that it aims for. Composition is precise and effective, as a smart use of shifting tempos and proper utility of punk beats lead to satisfying conclusions of both intensity and doom (“Where Obscurity Sways,” “Pestilential Fumes”). Barked and howled vocals, provided by bassist Dym Nox, land squarely in crusty territory throughout, although the isolated occurrence of death metal gutturals (“From the Stygian Depths”) is a welcome change of pace for Pyre.

Pyre’s monotonal vocals and inconsistent uses of tempos keeps it from achieving its true potential. The Russians run quite similarly into the same issues as Arizona’s deathgrind/death-doom band Thorn, in which the atmosphere and weight is communicated well enough, but nothing more breaks through the surface. Where Obscurity Sways is entirely inconsistent, Pyre’s tracks blur together in monotonous doom sprawls, but then utilize different tricks for each half of the album: the first half weaponizes wailing leads and ominous melodies, while the second dwells entirely in darkened tremolo. Each has its highlights (“Where Obscurity Sways,” “Pestilential Fumes”) and their droning sloggers (“Domains of the Nameless Rites,” “Chanting Ancient Incantations”). While the two instrumental pieces are decent enough to establish a semblance of atmosphere, their motifs are not utilized across the rest of the tracks for it to stick. In true crusty fashion, Pyre saturates its sound into a crusty, HM-2, Swedeath goo, so it’s easy to let the album at large settle into the background.

Apart from “Murderous Transcendence” and “Writhing Souls,” the whole of Where Obscurity Sways hangs out in relatively decent yet ultimately forgettable territory. Somehow Pyre makes the album seem too long even at a very reasonable thirty-six minutes, but when several songs blur together into a featureless expanse, it’s difficult to track. Some tracks are smartly composed, others painfully dull. Despite its attempt to blend Swedeath, hardcore, doom, and black metal, it keeps tripping itself up with inconsistent tempos and motifs. Utilizing more death vocals, sticky chugs, and black metal, Pyre will have a winning formula. As it stands, Where Obscurity Sways stays obscure.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Osmose Productions
Websites: pyredeathmetal.bandcamp.com | facebook.com/pyredeathmetal
Releases Worldwide: January 31st, 2025

#20 #2025 #BlackBreath #BlackMetal #BlazingRust #Bloodbath #DeathMetal #DeathDoomMetal #Entombed #FumingMouth #Hardcore #Jan25 #OsmoseProductions #Pyre #Review #Reviews #RussianMetal #Thorn #WhereObscuritySways

Moondark – The Abysmal Womb Review

By Tyme

Thirty years is a long time to spend brewing up a debut album, but for Sweden’s Moondark, it’s taken precisely that. Neither the result of sloth nor overwrought perfectionism, Moondark‘s cadre of musicians—composed of current members from Interment and October Tide—have put in plenty of work during this time, contributing to some of Sweden’s heaviest hitters like Katatonia, Centinex, Necrophobic and the tragically short-lived Trees of Eternity.1 Not so hot on the heels then of their independently released Demo #1 in 1993, which Xtreem Music reissued as The Shadowpath in 2015, Moondark and label Pulverised Records are finally ready to serve up debut proper The Abysmal Womb to the masses. Will it shine brightly as a beacon at night, or would it be better for this lunar body to remain eclipsed?

Moondark trades the HM2 pedals and melodicism of their day jobs for a pummeling, straightforward death-doom style on The Abysmal Womb. Solo-less and stripped of technicality as it is, the simple harmonized leads layered over crushing power chords rend the ears and do most of The Abysmal Womb’s damage. Johan Jansson’s and Mattias Norrman’s deliberately restrained yet devastating guitar work conjures strong Bolt Thrower vibes (“Suffer the Dark,” “Infernal Genocide”), as well as whiffs of Bloodbath (“Palliative Dusk”) and sludgy sprinklings of early Crowbar (“Sterile Earth”). Combined with Allan Lundholm’s beefy bass lines and Kennet Englund’s crushing drums, Moondark leaves listeners battered and bruised, as if having survived a ruthless session of sledgehammer flagellation.

Don’t let its near holiday release fool you, there’s no joy within the cavernous confines of Moondark’s creation. The Abysmal Womb’s opening salvo is a one-two punch to the solar plexus and the album’s highlight. “Where Once Was Life,” with its almost Cathedral-esque doom bluesy swagger, will have your head bobbing and your face stanking while the dismal dirge of follow-up “Suffer the Dark” steamrolls you into submission under tank treads of skull-crushing riffs. You’ll be left pining for General Willets and his army of Warmasters to come to the rescue as The Abysmal Womb continues to march, one boot-stomping riff after another. Decimating the last bastion of hope then, and perfectly placed in Peter Bjärgö’s warm and hearty mix are the brutishly discernible growls and icy rasps of vocalist Alexander Högbom, whose Peter Tätgren-does-Ofermod delivery solidifies the relentless atmosphere Moondark is trying to achieve.

However, as The Abysmal Womb crawls past its midpoint, it becomes painfully clear that the horse has been annihilated, yet the beatings continue. Moondark’s firm commitment to plodding pace and nothing-but-bludgeoning riff patterns sees fatigue set in by the end of “Infernal Genocide,” rendering the remainder of The Abysmal Womb a nearly indistinguishable collection of mid-paced riffs as opposed to individually diverse songs. And while I wouldn’t categorize The Abysmal Womb as overtly bloated at just over forty-six minutes, it could benefit from some sloughing. The final track, “Immersed to Crypts,” is the prime example of trimmable fat; with its funeral-like pace and near eight-minute run time—two minutes of which are an ambient outro—spoiling what could have been a stronger outing had the album concluded with the title track.

Scouring the promo pit in December can be tricky, and if you asked me whether I’d enjoy an album made up entirely of mid-paced Bolt Thrower-core and “Eaten”-like Bloodbathery I would immediately tell you, “Hell yes!” But too much of a good thing can sometimes be too much. The Abysmal Womb is a good album, but it suffers under the weight of its commitment. With a dash of the speedy ferocity from Interment and a pinch of October Tide’s melodicism, Moondark might have a masterpiece in its future; the cachet of its members suggests as much. I just hope we don’t have to wait another thirty years to find out.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Pulverised Records
Websites: moondark666.bandcamp.com | pulverised.bandcamp.com |
facebook.com/moondark666
Releases Worldwide: December 20th, 2024

#2024 #30 #Bloodbath #BoltThrower #Crowbar #DeathMetal #Dec24 #DoomMetal #Moondark #PulverisedRecords #Review #Reviews #SludgeMetal #SwedishMetal #TheAbysmalWomb

Caricature of Human Being 2024 #VascoGargalo #UnitedNations #ONU #warcriminal #roguestate #terroriststate #bloodbath #bloodthirstypsycopaths

This #ThursdayFiveList is all about getting down with #TheSickness :

Killing Joke - I Am the Virus
https://song.link/i/1678383250

Bloodbath - Cancer of the Soul
https://song.link/i/1045200514

Kinky Friedman - My Shit's Fucked Up (Warren Zevon cover)
https://song.link/i/1032802007

Depeche Mode - Shake the Disease
https://song.link/i/665415110

Queensryche - Spreading the Disease
https://song.link/i/715912282

#KillingJoke #Bloodbath #DepecheMode #Queensryche

Kaivs – After the Flesh Review

By Saunders

No matter your choice of deathly poison, 2024 has delivered a broad array of platters to satiate the death metal urges across the genre’s impressively diverse spectrum. Whether your tastes lean towards the suffocating dissonance of Ulcerate, the bone-jarring crunch of Coffin Rot, the forward-thinking tech slam of Wormed, spaced-out psych-prog explosions of Blood Incantation, spastic aural assault of Pyrrhon, or thrash and grind infected old school flavor of Ripped to Shreds, 2024 has delivered. Following a few lavishly praised higher-profile releases, a dip into the promo sump’s more obscure, underground depths is a refreshing way to uncork a surprise packet. Enter Rome, Italy’s Kaivs, dropping their full-length debut, After the Flesh, upon the masses. This unheralded act skews towards the traditional; eschewing advanced technicality, dissonant chaos, or songwriting trickery to instead bludgeon and heave through eight tracks, taking cues from the classic Swedeath scene, including legends such as Grave and Dismember. Can this relatively new band juggle contemporary smarts and individual flair with timeless influences?

After the Flesh hits hard from the outset, pulling no punches as it settles into a raw, dank and rumbling groove, maintaining a no-frills ethos and rank, dirgey attitude, absorbing the dying moisture from the fetid soil of the past, aiming to weld past glories of their spiritual ancestors with a sound they can call their own. Kaivs don’t have a great deal of weapons at their disposal, following the old Bloodbath motto of brutality through simplicity. Musically there are no sharp turns or surprises, however Kaivs’ no-nonsense, brawny delivery and raw guttural edge manages to get the basics right for a formula that’s easy to ape, but difficult to do well. Opener ‘Koshercannibal” sets the platform and blueprint for its counterparts to follow, cleaving through with gruff vocals and heaving riffs, featuring a mix of doomy plods, mid-paced rumbles, and quicker lashings of speed.

Kaivs go hard for the album’s tight 35-minute duration, wearing its tremolo melodies, graveyard atmospheres, and Swedeath love on their tattered sleeves. An extra dose of heaviness and rawer aesthetics lend the album a meaner edge, emphasized on frantic cuts such as the bruising lurch of “SEpulchrist” and livelier crunch of ‘Blasphemer After the Flesh.” The majority of material lingers in mid-paced territory, looking to bludgeon and steamroll rather than finesse or blaze away with speedier tempos. This proves a hindrance, as repetition and monotony weaken the album, detracting from its more appealing elements. After the Flesh feels longer than its efficient runtime would suggest, and several songs stretch beyond their limits. For instance, the rumbling death-doom core of “Beyond the Autopsy” hits the spot, showcasing Kaivs potential to expand on the doomy aspects of their sound. However, solid qualities are dragged down by its six-minute plus length, losing momentum gained. Elsewhere, “For Satan Your Flesh for God Your Soul” benefits from its rugged, dynamic approach and rhythmic variations.

After the Flesh’s construction is suitably rough and pummeling in design, unfortunately, the songwriting cannot match the band’s good intentions and solid musicianship. After the Flesh is lacking in a few key areas. While they avoid slipping into derivation and pure Swedeath worship, the material comes across as little too one note. Chunks of the album tend to slip into a stew of interchangeable ideas and patterns, hamstrung by a lack of variation and an array of repetitive rhythms, riffs, and tempos. Extra shots of d-beaten violence, leaning into their doomier side, or more fully embracing the hints of caverncore-esque heaviness would enliven the material and provide a more interesting formula to fully grip the listener. As it stands, the majority of material fails to leave a lasting impression, while the production, especially the drums, and squashed mastering leaves a bit to be desired.

I’m a sucker for old school death and the classic Swedeath scene, yet the oversaturation of the style has made it increasingly difficult to stand out amongst the pack. Kaivs differ from the usual devotees by injecting rawer underground heaviness into the equation, and their willingness to dabble in chunkier death-doom realms serves them well, though is not utilized to full effectiveness. Although there is nothing inherently wrong or offensively bad about what Kaivs do on their debut album, nor is there anything particularly gripping to garner deeper appreciation and hold interest. Hopefully the band can tune up their songwriting for greater reward in the future.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Brutal Records
Websites: kaivs.bandcamp.com | facebook.com/kaivsofficial
Releases Worldwide: October 18th, 2024

#25 #2024 #AfterTheFlesh #BloodIncantation #Bloodbath #BrutalRecords #CoffinRot #DeathMetal #Dismember #Grave #Kaivs #OldSchoolDeathMetal #Pyrrhon #Review #Reviews #RippedToShreds #Ulcerate #Wormed