Other notable releases from 1992 for context – Soul of a New Machine (Fear Factory), Vulgar Display of Power (Pantera), The End Complete (Obituary), Images and Words (Dream Theater) […]
When talking about Dutch Death Metal, most people will rightly cite Pestilence, Asphyx and Sinister as their go-to legacy bands (and the likes of Graceless as the newer generation). But for those of us who were kicking around in the early 90s, there was another Dutch master in the mix; Gorefest. […]
So back in 1991 there was a gigantic ripple in the Death Metal scene. An album recorded at Morrisound Studios was released. It featured band members who had been in Death, and who were heavily affiliated with the Florida metal scene since the early 80s. Oh yeah, and the singer claimed to have invented the Death growl (or vokills, as Kam Lee called it). And the word on the street was that the music on the release was all written between 1984 and 1986 and the songs were well known in the local scene, and the band was infamous for a particular song about having sex with a corpse. […]
Morgoth came to me through the late night Aussie music video show, Rage, on the ABC (Australian Broadcast Corporation). Most Saturday nights, around 3am they would play maybe ½-an-hour to an-hour of metal; it was great. I would set up the family VHS on long-play-record, and let it run overnight. First thing in the morning, I would grab some brekkie, and fast forward through the crap, and then normally after the grunge segment (that was pain), it would be metal time. […]
Why would I include Destruction as part of Metal Redux, you may ask? One of the so called Big 4 of Teutonic Thrash. Surely everyone knows Destruction? Its a great question, as this titan of thrash metal has been kicking around for 37 years. And with 14 albums, several EPs, and two anthem re-recordings of their classics, I am sure many of you know them, as well as their best tunes. […]
Noob Heavy runs a Metal Think tank for the contributors of his website, and within this group (CB – Just email for an invite), I asked the question, “What do you guys know about My Dying Bride?” Those that answered knew of the band, but weren’t overly familiar with their catalogue. […]
When something sounds evil, it has the ability to draw you in and although you may fear what is to come, you cannot help but to listen on. I remember the 1st time I heard Sabbat. It was in 1988, and their album History of a Time to Come (HOATTCC) had just been released, and I was listening on a the Sunday night to the once-a-week underground metal radio show called Metal For Melbourne. The song was A Cautionary Tale (the intro), and much like Bathory’s Storm of Damnation, or Slayer’s Hell Awaits, I knew that I was listening to something special. […]
An Evil Shade of Grey is an outstanding and very listenable Swedish Death Metal album with a genuine element of uniqueness. This comes from its tastefully written melodic riffs and song structures, that are layered with atmospherically textured elements, and all combined to create a gloomy ethereal listening experience. The production is dynamic and intelligent, accentuating moments within each track to compliment lyrical themes (a very strong point of the album), whilst also creating a perfectly crafted sense of melancholy. Although Cemetary have been labelled Death / Doom Metal, this album also has some Black Metal elements floating just beneath the surface.
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