Demo Review: Devastación - Maquinarias De Poder

Devastación - Maquinarias De Poder

Self Released - 1993

8/10

These days, Argentina is one of the larger exporters of heavy metal in the South American continent, however just a few decades ago, the output was similar to its neighbors. With a decade full of guerilla warfare and military repression in the Dirty War, it wouldn't take long for Devastación to kick out a few demos by the end of the '80s. However, I feel demo number three from the early '90s encapsulated the best of these early sessions, that being Maquinarias De Poder, translating to "Power Machine." With a slightly more promising future in sight, a slightly tighter output came to be.

Of course, I use the term "tighter" rather liberally, as this demo is still rough and grating, only less-so compared to others outfits of the time and place. Devastación mostly reside on the death/thrash side of things, heavily crafting a style around beefy riffs and jarring changes in pace to keep an otherwise shorter release pretty interesting. What's really cool is that the despite the quality, the bass guitars come through really nicely, preventing this from ever feeling too flat. Considering that there's also some strength in terms of solos, I can confidently say that Maquinarias De Poder taps into great songwriting potential early on.

Only six tracks coming in under thirty minutes in length, you'll find much of this to be fairly digestible. "Barbara Imposicion" is easily a favorite, tapping into the more aggressive side of things with its speeds and sharp rhythms, and the vocals give a nice early Calavera snarl. The steadier center shows the band's riff variance, something I noted helps a lot of this, especially with the Slayer-esque patterns. "Muerte y Destrucción" on the other hand is crafted around the slower approach, making it all the more jarring when a solo at breakneck speed hits at the end, after cooling from its thrashier intro. Admittedly, some of the songs feel like they were recorded with an entirely different environment, as some of the production gets even more degrading in the second half, but I can't knock it too hard; what does come through is still strong. "Vida Lobrega" is a good example, letting in some cleaner but still menacing bridges.

While I've lately been keen on the horrendously gritty and uncomfortable releases of turn-of-the-century South American metal acts, I very much appreciate how unique this one feels among that. Not a single note on here comes off as approachable, but the writing itself has a nice identity, and I love that you can see specific death and thrash influences from the entire American continent. It does help that it's a shorter release, but if nothing else, the pacing here is wonderful. Could not recommend Devastación enough for all extreme metal fans.

Album Review: Coffin Lurker - Foul And Defiled

Coffin Lurker - Foul And Defiled

Sentient Ruin Laboratories - 2021

7.5/10

Oh boy, yet another "coffin" band! Actually, this one has only been brought to my attention because of a recent reissue, but the Dutch outfit Coffin Lurker actually released their debut album several years ago. Extra funny, considering that this is shortly after I would have gotten into Coffin Rot, Coffin Mulch, and Coffin Curse. All that said, this band crafts, you guessed it, death metal, however their brand is something that I would describe as far more grueling and unsettling than any of the other three death metal throwback-type groups. There's only one single release on their roster titled Foul And Defiled, that being said aforementioned full-length.

One could argue that part of this could be due to the very nature of Coffin Lurker. The presentation is so damp, murky, and unwelcoming that I can't imagine the demo stage being necessary. Falling into the "doom/death" territory, Foul And Defiled is only five tracks that add up to about a half hour, each one being a long and disgusting march through filth and emptiness. Bass plays such a prominent role not because it adds to (or creates) any sense of rhythm, but rather, thickens the already mucky bottom layer of reverberating guitars. The only sense of rhythm really comes from the drums , casting a silhouette of a pattern that's otherwise hidden behind drones of unforgiving guitar stench.

In other words, this isn't just another Spectral Voice clone that gives us "caveman riffs" that still have jarring shifts and spaces in between that one can discern. Rather, I find this to strike a very specific mood that's meant to feel like you've been stomped and trampled into the soil, becoming part of the harsh climate that is this music. It's rare that I find myself drawn to such a thing, and I actually won't even pretend that this is anything great, yet here we are with me returning to it several times. Maybe part of it is the fact that it's so short, and conjures a feeling rather than anything worth "jamming" to. There's a Star Wars legends book that speaks of a Sith that once sucked the life out of an entire planet, and this may be the closest thing to picturing that I've come across. So if nothing else, I can at least say there's some purpose? Truly soulless stuff in the coldest way.

Thus, I'm not even going to try and distinguish between the individual tracks. You'll get your occasional higher death shriek to compliment the otherwise floating gutturals, but all of them in the end work as a small ingredient rather than a base foundation. Sure, you can pick out changes in pace from time to time, mostly because the drums might speed up. But my recommendation is just to take this in as one whole unpleasant experience with the right setting and frame of mind. Typically, I find little use from something like this, but somehow they roped me in, even if just a little. A broken clock is right twice a day, perhaps?

Album Review: Emperor - In The Nightside Eclipse

Emperor - In The Nightside Eclipse

Candlelight Records - 1994

6/10

I know, I know. It's not too often that I come at such a beloved record with such a spicy score these days, but let me be clear. I have spent many years with Emperor, many years allowing black metal to grow on me, and many years still struggling with Norwegian black metal specifically. We've again reached the time of every other year or so when I revisit Emperor's debut album, In The Nightside Eclipse, and see if one of the records that made such a lasting impact on the scene leaves a lasting impact on me. The unfortunate answer is, despite how much I want to love this, and how beautiful that masterpiece of an album art is, it still does not.

Stylistically, In The Nightside Eclipse runs with the formula that was gaining popularity through the '80s under the "first wave" black metal guise and stretches the harsh and breezy boundaries to a new proportion. Tremolo guitar passages, unwavering blast beats, and throaty, drawn out shrieks fill in for what was once ruffled and raspy, darker tones that originally felt like an evil embellishment of the thrash metal genre. These heights of seemingly riffless rhythms carry much of Emperor's songs, combining with the blistering percussion to create an atmosphere so harsh that changes in pattern are tough to recognize (at least, the few that are there). The end result leaves the listener with more of a wall of soundscapes than anything, meant to target a feeling rather than churn out anything resembling melody. Synthesizers honing a symphonic aura are added to this, more often than not taking higher precedence than the guitars, to finish off what's clearly become a unique brand of the black metal genre, one that would stick around into the modern day.

That's all well and good, being a very sturdy foundation for something truly interesting. My issue lies in the fact that, that's all I feel like it is; a foundation. I never go to black metal looking for drastic jumps in attitude, or wide and vast reaches of standout tunes, however to this day I find so little that sticks out other than the simple fact of it being a compelling sound as a whole. Even the vocals, despite having root in a pretty standard black metal shriek, do very little. Nevermind the fact that they're somewhat drowned, feeling like an afterthought, but Ihsahn's tone is hardly what I would call pleasant. Combining this with the mild levels of difference, the longer runtime, and the harsh overload of instruments in the rough atmosphere make it sometimes a task to get through, even in the right mood.

Moments that I can actually recognize treading different ground are few and far. The slower outro of "Cosmic Keys To My Creation & Times" is certainly one of them, and the synth-drenched intro to the following "Beyond The Great Vast Forest" is a pretty nice contrast. I also won't deny how hard the main riff in "I Am The Black Wizards" goes, reaching that menacing sensation that I look for in black metal. Not only is the attitude here extremely crushing, but the different directions it takes with its calmer middle, strong leads, and a doomy return to the main hook to see us out is quite nice. Like nothing else on the album, this scratches just the itch when I have a hankering for this type of record.

But outside of that, I struggle with In The Nightside Eclipse. Much of the time I find myself wondering how much time is left on the disc, and it's usually more than I'd like. There are certainly more nuances than the few I pointed out, but I'd be lying if I said they were anything really worthwhile. I get the appeal, I appreciate what the Norwegians' debut record did for the scene, and why so many people like it, but with so many chances, I can only really conclude that this isn't for me. I'd never go on a whim and call it a bad album, but there's a reason I'm always reluctant to return.

Album Review: Vanik - IV

Vanik - IV

Self Released - 2024

6/10

For many years now, Vanik have been a key staple to my spooky season spins, especially the second record Dark Season, the latest release when I found them. Their next record may have been a step up in objective construction, but it was a step down in memorability. Naturally, IV comes out and and I immediately scoop it right up wondering if it will expand on any of that. But then I thought, how much can you really expand on this?

Maybe some of it is my taste evolving, and I'll never grow tired of unrelenting speeds with nothing overly unique, so long as it delivers with some kind of identity. Unfortunately, said identity is the issue with Vanik, leaving only that generic heavy/speed metal bottom that's evident across the disc. Their brand relies way too much on the Halloween themes and a spooky aspect that specifically feels like it was written for a campy horror film, and that's only going to leave an impression once or twice. Thus, IV comes across as just another disc of the same serviceable stuff we got on III but without the hint of going another direction.

If you like your horror-drenched effects and straightforward, crunchy riffs, you'll still feel right at home. There's always been a magic to the hints of melody, which you can find plenty of as well. Chant-choruses that repeat quite often over pummeling rhythms is still the name of the game, and howling vocals that combine clean and gruff are still the star of the show. "Infernal Infection" is admittedly a catchy tune, being carried by a decent chorus and probably the strongest solo; impressive, considering this is one of the shortest tunes. Yet, even with this obvious theme sticking the tunes together, it's tough to overlook the jarring shifts in tone, which shows next in "Devoured Melody." Immediately, this jumps to deeper chugs with a far more menacing undertone, topped with thicker bass and harsher vocals. None of these are a bad thing, but the way it runs together is as smooth as a seventh grader flirting with girls at his youth group. As the disc progresses, you'll find much of the same idea chopped up and presented differently, and despite its short length, I find myself wondering how much longer it's going to go on.

No, the irony is not lost on me that I'm complaining about things that I enjoyed in earlier iterations of this band's output, but I think it's a case of the trick wearing itself out, or like a joke only meant to be told once. Obviously you can only take this so seriously, but Vanik's spooky brand of coarse heavy/speed metal hasn't evolved from into anything interesting. For a hot minute, it was lots of fun with lots of raw edge, but it leaves much to be desired these days. Maybe this should have remained a one-off side project of Midnight (which was always sorta a side project in and of itself, but that's a conversation for another time).

Album Review: Holocausto - Campo De Exterminio

Holocausto - Campo De Exterminio

Cogumelo Records - 1987

7.5/10

In a time when Brazil was starting to see a light of hope following 21 long years of military dictatorship, the New Republic would become one of the more prominent areas for extreme metal to grow. Sepultura always comes to mind first, but the scene was seemingly growing quicker within its borders than some of its contemporaries as a whole. Holocausto would emerge right around the same time, cooking up a very similar formula. While the band's later output was actually the first thing to turn me onto them, I recently discovered in my searches that they'd put out several records over the decades. Diario De Guerra from 2019 really didn't impress me, but I certainly found a little more in 1987's Campo De Exterminio.

At first glance, one might be suspicious of the rough and blunt subject matter. Given the recent history of the nation at the time, perhaps writing about a different and more infamous dictatorship from a generation prior was a way of coping, and the deadly and monstrous attitude certainly comes through. You'll find that much of this, however, focuses on the grander concept of war and the struggle and misery that sometimes comes with. Primarily, this release is centered on the rough and rigid blackened thrash sound that was emerging around the time. Hornet-esque riffs emulating a burning sting with their production and breakneck speeds pair well with the drum clangs bouncing around the swampy atmosphere. To add angst to anger, much of the vocals take on a pain-induced, incomprehensible tone that really comes close to death metal territory, a brand new thing at the time.

Harsh outbursts like this with the music wonderfully paint the desired picture in the mind. I'll point out that what helps this disc stand out is not the songwriting itself, as I'd be a liar. Rather, Holocausto's ability to capture such a precise feeling for a precise mood in what otherwise feels like a noisy mess of extreme metal is what sells it; one doesn't need to know Portuguese to get the picture in their head (if the album art doesn't do that already). I do dig some of the energy channeled in specific songs, like the slow drag into a sea of chaos on "Regimento De Morte," especially with its hidden, power-stance bridge. I also like the way "Setembro Negro" works in the littlest bit of intricacy, detailing war terror around the Jordanian Civil War, while "Vietna" casts a nasty aura around the recent horrors of the Vietnam War with a steadier march.

But obviously, standout moments like this are just a nice side treat, and it's all about the vibe. I'll even go as far as saying that this is probably a little longer than it needed to be, too. A record like Campo De Exterminio is not for the faint of heart in an way, be it the real-life subject matter, the graphic imagery, or the filthy and unbearable presentation. However, for the specific mood that calls for this, it absolutely delivers. I can confidently say it's one of the best records from the South American continent of the 1980s.

Album Review: Reencarnacion - Reencarnacion

Reencarnacion - Reencarnacion

Self Released - 1988

7/10

Looking at a country I've actually had the pleasure of visiting in person before, Colombia beholds one of the earliest, most unforgiving acts of blackened thrash metal to reach the region. Reencarnacion formed virtually in Pablo Escobar's backyard, right in the heart of the drug lord's Medellin, crafting straightforward but nonetheless abrasive thrash under such a mean scope. Unlike some of their counterparts, this act would stick around for a while, and change/revamp certain styles over time, including experimental. But the debut record simply titled Reencarnacion is anything but that.

Instead, we have something far more aligned with the burning fumes of neighboring country Brazil's Sepultura, specifically their demo stage output. Much of this is carried by the hardcore punk attitude that came to define certain thrash movements in much of the global north, served with grunting vocal outbursts caked in a blackened hue. Much of that is likely from, you guessed it, the pummeling and degrading production, which isn't made any less harrowing by the booming drum kicks with loose snare sounds and thunderous basslines. Much of the songwriting has an extremely chaotic angle, avoiding concise rhythm for large chunks of the music in exchange for even more discomforting execution. Even when things steady out a bit and let some groovable passages in, don't expect it to be very welcoming. This includes when keys or a violin is occasionally thrown in.

Obviously this is to be expected, and like I say about a lot of these releases, it's part of Reencarnacion's charm. I would actually go as far as saying most of it is easy enough to follow in terms of keeping up with the energy alone, however the songwriting is where this is going to dip. Telling tracks apart is definitely a task, and some of the explosive breakdowns with seemingly directionless loops are a lot to take in. However, they serve a purpose in helping channel the rage into discernable moments. "El Canto De Los Sepulcros" shifts its tone several time, working in some of the most pain-drenched outbursts you can conjure up, fixed with nice bass utilization riding next to the guitars. The easiest one to digest is likely "Funeral Del Norte" with its speed-picked guitar crawls and familiar playing styles. Others take this explosive element to the majority of the tune, typically shorter ones like "Armagedden," Closing title track (Part II) however goes down the roughest, packing basically everything into one massive mess, while the short and hilariously titled "Puta Religion" works in some church organs as an interlude. The former's use of violin as part of the lead was certainly a welcomed surprise.

A mess would be a good word to describe Reencarnacion as a whole. It's hit or miss in terms of stable rhythmic integrity, but I think that if the whole thirty-five minute record was like that, it would grow boring quickly. Instead, you get a taste of some of the dirtiest blackened thrash to exist not only in the region, but probably the world in 1988. The group clearly wanted to make something as evil sounding as their conditions would allow, and I'd say that if that's what you're after, you'll do just fine with this. It's mean, it's compelling, and it's a worthwhile time for a very specific mood (one I've clearly been in lately). Just don't go in expecting much variety or stability.

Album Review: Graf Spee - Reincarnation

Graf Spee - Reincarnation

Orfeo - 1990

6.5/10 

Zooming into the smaller, often overlooked country of Uruguay, you'll meet the grueling and ghastly Graf Spee. Named after a German warship that sunk off their coast at the turn of 1939, the Montevideo group took formation right in the midst of the nation's "civic" military dictatorship under Aparicio Mendez, starting with a taste of traditional metal. But as years went on, the political climate changed, as did the band's style, and when they released Reincarnation in 1990, they'd take on a much harsher identity reminiscent of the totalitarian days of (not so) yore. Thus, the band's once-and-done full length is as grating and discomforting as you may be able to imagine.

Stylistically, one might struggle to pin this down, as the greater extreme metal tag seems most fitting for how raw and repugnant Graf Spee's delivery is. In terms of riffs, you've got a lot of death metal influence that comes with that thrashy attitude, at least when the atmosphere allows it to be picked up. The crunchy guitar tone often fights with the bass, both blending into the unforgiving forefront that soaks the listener in an ocean of ash. Mostly, the lead guitars are what stick out, piercing the listener with a screeching bite that's extremely tough to swallow at times, seen in the several phases of the instrumental tune known as "Perfidy." If that's not enough, the vocals also appear all over the place, ranging from deep yet blackened growls aiming for a guttural-adjacent sound to higher, crossover-esque shrieks.

Though one knows what to expect when going into a release like this, Reincarnation isn't the most pleasant experience, and if it weren't for its short runtime, this could have been overbearing. But, I also can't deny the appeal of being submerged into such a proverbial pile of rusty nails. Nuances like bass crawl in "Kali-Yuga" and its lower growls contrasting the higher outbursts are a fun observation. This may be a stretch, but I also felt like I could see the traditional metal starting point peak its head in "Eunuch." If you can peel away the rusted and unfinished outer coats, I think the gallops under the crushing weight heavily reflect the NWOBHM sound that was far later to arrive to the region. Same could also be said about the softer (and I use that word very liberally) delivery that coats the start of "Self Destruction." If nothing else, the crawling bass/lead combos in that are neat.

I can't say that Graf Spee is a band I see myself returning to often. This execution of extreme metal is all sorts of fun to dive into for a glimpse at what was being crafted at the time and place, but even by those standards this has little replay value. I'd encourage fans of the inaccessible atmosphere with intricate styles to lend this their ear. If you can't walk away with much, at least try and spot the nuances buried deep within.