Wanna see #cryptworm and #slimelord rock #Vessel11 with their disgusting, slimy, swampy #DeathMetal ? You are in luck! Check out this playlist! https://www.youtube.com/watch?v=hWLimjmZptM&list=PLmn2ED1LqEvDtnUkn1-VL6uDDuO1Mn9t0

Just came out of a gig at #Vessel11 a cool venue in the #rotterdam harbour, featuring #cryptworm and #slimelord These two bands hail from the deepest British swamps. We are lucky their doomy, mephitic brand of #deathmetal didn’t sink the boat. Lovely stuff.

Fathomless Ritual – Hymns for the Lesser Gods Review

By Ferox

One develops a strange relationship with the concept of “accessibility” in this gig. Take Fathomless Ritual’s debut Hymns for the Lesser Gods. This slab of murky death metal plunges you right into the maelstrom with furious opening track “Hecatomb for an Unending Madness.” The rest of the album is full of riffs that land like an oddly shaped object dropped from a third-story window: they bounce around unpredictably, and if you’re not careful they might just hit you in the face. My point is, no one will play Hymns for the Lesser Gods as the soundtrack to a spin class. Why, then, does the phrase “like a more accessible Demilich” recur in my listening notes? B. Dean, who does everything here, draws a deep lungful of inspiration from the Finnish pioneers of the weird. He then sweetens up their sound with a never-ending blitz of catchy riffs and the strategic application of groove. Is Fathomless Ritual onto something here, or are we wandering in the wilds of Tribcore?

That which challenged us yesterday becomes today’s canon. B. Dean seems to understand that the collective metal audience has long since digested the off-kilter innovations of Demilich’s Nespithe. Fathomless Ritual breaks no new ground here, content rather to deliver a fleet and exhilarating tour of what are now the tropes of a certain subsect of Olde-School Death. B. Dean’s penchant for groove asserts itself early on tracks like “Exiled to the Lower Catacombs” and “Gorge of the Nameless.” Hymns for the Lesser Gods boasts enough variety to keep things entertaining throughout its forty-minute span. A winding lead guitar line that doubles the central riff invigorates “Grafted to the Chambers of Mirth;” the amazingly titled “Wielding the Bone Wand” boasts ever-transmuting riffs and is the best song on the set. Dean’s vocals, which live somewhere between a burp and a growl, are mostly just background noise, and he could have used another ear to handle the undistinguished production. Still and all, fans of the genre should happily burp along to these Hymns.

B. Dean’s other projects (Pukewraith, Fumes, etc.) have yet to rawdog my earholes, but he acquits himself well as a songwriter. The album roars out of the gate, builds momentum with the aforementioned right-left combo of “Exiled to the Lower Catacombs” and “Gorge of the Nameless,” and never relinquishes its grip. The longer pieces here (“Gifts for Aranaku” and “Grafted to the Chambers of Mirth”) sometimes feel like Fathomless Ritual is running the same playbook to diminished effect, but the songs are packed with enough variety to keep things generally spry. Hymns for the Lesser Gods’ rollicking run-through genre tropes recalls the reliably infectious Cryptworm. Little here to tax or challenge, but hints of a guiding vision do pop up and there’s plenty to keep your knuckles dragging along for forty minutes.

Hymns for the Lesser Gods sets its own ceiling, then does a decent job hovering near the apex of its ambitions. B. Dean’s mixing and mastering is a consistent drag on his own songwriting. It’s not disastrous, but there’s a nagging sense that these songs could be showcased more effectively. My ear had to root around in the mix to find the riffs. This sort of murk used to be part of the fun of committing yourself to metal fandom. Fortunately, technology has brought us a long way, and Fathomless Ritual’s production is not to modern standards. The vocals share in the shortfall. Here as elsewhere, B. Dean owes an obvious debt to Antti Boman of Demilich. But where he energizes the music with some new ideas, Dean’s gutturals land as perfunctory.

The one-man act obviously affords a creator the opportunity to port their musical vision right into your ears. Fathomless Ritual knows what it’s going for, and they deliver an enjoyable debut that I’ll spin again. Hopefully, B. Dean will find someone to challenge him in the right ways on future efforts. Until then, Hymns for the Lesser Gods is a solid slab of death metal that’s unlikely to engage you much past the length of its run-time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: fathomlessritual.bandcamp.com | instagram.com/fathomlessritual
Releases Worldwide: March 1, 2024

#2024 #30 #CanadianMetal #Cryptworm #DeathMetal #Demilich #FathomlessRitual #HymnsForTheLesserGods #Mar24 #TranscendingObscurity

Cryptworm – Oozing Radioactive Vomition Review

By Steel Druhm

Cryptworm’s 2022 Spewing Mephitic Putridity debut completely satisfied my shameful desires for a death metal album sounding like someone vomiting gut slime and mega-maggots for 33 minutes. It was repulsive, obnoxious, stupid, and fun. It was also really heavy, borrowing key chapters from Autopsy and early Carcass. I go back to it regularly, so the UK-based blokes did something right. Now hot on the heels of this grisly triumph, we get a brand new splatter platter called Oozing Radioactive Vomition, featuring cover art depicting a pack of n00bs having their first AMG promo sump excursion. They’re so cute! There have been some changes at Camp Crypt since last time, and instead of operating as a gruesome twosome, now it’s Tibor Hanyi with a new bassist and drummer in support. You know these tomb moldy fucks haven’t evolved in the scant time between releases, so you can expect more of the same bloody glop and scuzzy gunk heard last time, full of moist and pasty sub-sub-basement vocals and heavy caveman grooves thick enough to resist tank munitions. But can you rely on this to meet your intrinsic vomitcore needs?

The same things that made Spewing so refreshing are still interred here. Tibor’s insane death croaks and gurgles are still a total blast and since he’s completely incomprehensible, sometimes he sounds like the Swedish Chef from The Muppet Show, and that’s just awesome. The opening title track is d-beaty, dumb, and fugly, with a loud, pongy snare that will annoy the fook outta most normal music lovers. People like us will love it though, along with the borderline slam tendencies, and wish they played this kind of stuff at the local mall and in office elevators. Huge chugs and fat, greasy grooves proliferate and over the top of it all lays Tibor’s repellant and infectious death gibberish. It’s a winning recipe here as it was on the debut. That said, the song feels like it runs too long at 5:45. This becomes a theme across Oozing, with every track in the 5-6 minute window. “Organ Snatcher” does quite a bit with its extended runtime, dabbling in Autopsy murder smut and Carcass gore with a jaunty, upbeat energy that makes the nastiness seem ironic, but it too feels too long in the end. “Necrophagous” fares fairly well despite the elongated lifespan, with a relentlessly vile, disgusting vibe full of slithering leads, bunker-busting grooves, and scuzzy, wet vocals.

The tendency to stretch out these highly toxic concoctions doesn’t work in the album’s favor. No selection is bad, but some tracks suffer more for their bloat than others, and nearly every cut feels like it should end before it finally does. At a slim 35 minutes, Oozing feels longer than it should due to the bloat, and that diminishes some good and very good death metal moments. The writing feels more formulaic this time as well, with certain tropes reoccurring across different tracks, giving the album a bit of a one-note vibe. The drum sound is another issue, with the snare set to “Pong Master Series.” It will work for some way more than others. Ultimately, it’s the combination of poor editing and homogenous writing that limits the impact Oozing has, though it remains an entertainingly raucous dose of Neanderthal death metal dipped in fresh poo-crust.

As with the last album, Tibor Hanyi absolutely kills it as a death metal vocalist, providing some of the most godawful, garbage disposal-esque vocalizing you’ll hear this year. I can’t get enough of his “trash monster with Covid” style and hearing him regurgitate his guts makes me smile every time. He’s more than a capable guitarist as well and there are some notably cool, sticky riffs splashed across the album. He has a real knack for sick grooves and mammoth chugs and these serve the material well. It does seem like he fell back on generic d-beat leads too often this time though, making the songs bleed together into soupy shit-Jello. New drummer Jamie Wintle (Seprevation) does a fine job despite the merciless pong assault and he lays in some interesting fills and rolls amid the chugging and brutish d-beating.

I had some misgivings seeing a new Cryptworm platter so soon after the last one, and maybe the rush to follow up Spewing is why Oozing Radioactive Vomition feels less impactful. Still, I love what Cryptworm are all about so I’ll have a goodly amount of fun with this regardless. You will too if you’re a cellar-dwelling death metal scum leech. Test your Worm tolerance and self-diagnose immediately.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm
Releases Worldwide: December 15th, 2023

#2023 #30 #Autopsy #Carcass #Cryptworm #DeathMetal #Dec23 #MeSacoUnOjoRecords #OoozingRadioactiveVomition #Review #Reviews #SpewingMephiticPutridity #UKMetal

Cryptworm are at it again with Oozing Radioactive Vomition. Review at FFMB, https://flyingfiddlesticks.com/2023/12/12/cryptworm-oozing-radioactive-vomition-me-saco-un-ojo-2023/ #metal #heavymetal #rock #hardrock #MeSacoUnOjo #Cryptworm #deathmetal #Bristol #UK #England

Keeping in the theme of crypts from last #ThursDeath, this week we focus on the almighty CRYPTWORM.

Yet ANOTHER band with that great sewer sludge sound. It's catchy, too - there's riffs and dynamics, not just all blast beats, growling and rumbling.

Their new album 'Oozing Radioactive Vomition' (great title, right?) comes out next week, and you can hear a preview track (that I can't stop going back to listen to) here:

https://cryptworm.bandcamp.com/album/oozing-radioactive-vomition

And hell, ALL of Cryptworm's albums are great (even their DEMO!) and they're all on Bandcamp.

#metal #DeathMetal #OSDM #Cryptworm