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10 PURE GENIUS

8-9 POT OF GOLD

6-7 PASSES THE TIME

4-5 PASS

2-3 PISS POOR

1 PILE OF SHITE

ALBUM OF THE MONTH

THE RUINS OF BEVERAST

‘Exuvia’

VÁN

Cleansing spirits and casting off skin is a process that Alexander von Meilenwald has fascinatingly explored ever since he sought to ‘Unlock The Shrine’ that is The Ruins Of Beverast back in 2004. Not that previous work with Nagelfar was anything that could be looked upon as formulaic but given the scope to act alone, his fertile mind has yielded works of great depth and substance, drawn from a garden equally inhabited by delights and nightmares. With the foulest semen dredged from his bestiary, regular listeners to his craft can expect a dense sounding terrain to explore and lose themselves within, a place where nothing should be taken for granted, except perhaps for the unfettered lengths that songs are allowed to sprawl and unravel. We already had clues to his latest vision courtesy of last year’s ‘Takitum Tootem!’ EP, where we set off on a spiritual quest via the ‘Wardance’ of the title track.

The heart of ‘Exuvia’ is very much one to be partaken as a shamanic journey and indeed, fasting for four days before setting off might not be such a bad idea. Authentic sounding Native American chants swirl around a massive canvas of blackened doom which expands in a heady fever dream akin to ingesting musical peyote, as the epic fifteen-minute title track draws you into its realm. There’s plenty going on within the folds here, such as some soft flickering strings, much like the call of the skin-shedding cicada on a balmy summer’s night. Be prepared for anything; for instance, a sudden peel of operatic backing vocals lifting from the ceremonial clean beseeching fragrance of the central voice. States of trance are very much induced, although massive, dark storm-clouds occasionally hone in, abruptly disrupting glistening gothic guitar-lines as feral vocals tear altered states asunder. Drums beat calibrating the heart to their very rhythm and there is a definite hallucinatory quality as things move towards near fevered dream-like states. The strong harmonic melody of ‘Maere (On A Stillbirth’s Tomb)’ is repetitively persuasive, yet sometimes skewed and strangely off-key as horror seeps into the corporeal folds. Choirs rise like phantasms calling from within the stygian depths. Everything is hugely atmospheric and imaginative, allowing you to close your eyes and really breathe into the very dust of history conjured up by the ghostly call of the bagpipe lurking within ‘The Pythia’s Pale Wolves’.

DYING FETUS

‘Wrong One To Fuck With’

RELAPSE

With a career spanning over twenty years, the big question is – are tech/ death/slam-meisters Dying Fetus still capable of delivering the goods? Of course they are! Picking up right where they left off with 2012’s ‘Reign Supreme’, the crushing opening combo of ‘Fixated On Devastation’ and ‘Panic Amongst The Herd’ provide all the calculated chaos, neck-wrecking rhythms, and skin-shredding technicality that we’ve come to expect, while also never being too far away from dropping into a brutish, knuckle-dragging groove.

As a matter of fact, this weird back-andforth between cerebral technical wizardry and ugly, dense-as-a-bag-of-hammers hostility has always been the fulcrum of the band’s sound, with Gallagher and co. unafraid to get really dumb and nasty when the moment calls for it. The marching, elephantine riff which opens ‘Die With Integrity’, for example, is death metal 101, but no less effective for it, while the churning chug and thuggish swagger which underpins songs like ‘Unmitigated Detestation’ and the utterly monstrous ‘Weaken The Structure’ make for one stupidly brutal good time.

If there’s one fault with this album it’s that, at a full 50 minutes in length, it does feel a little dragged out at times, with the Dying Fetus experience best consumed in short sharp doses of unrefined and unforgiving sonic savagery. When all is said and done however, we doubt anyone will be complaining when songs like ‘Ideological Subjugation’ and the weaponised ignorance of the title track kick in and take them on a one-way ride to riff city.

[8] ANDY WALMSLEY

ABSOLUTE DEFIANCE

GUITARIST/VOCALIST JOHN GALLAGHER ON WRITING THE NEW ALBUM

“I think this record has a few more changes where unexpected slam riffs come in, then we’d purposely put in a tech part and pull some switcheroos to keep the listener on their toes a little bit. But it’s not all like that, with unexpected twists and turns. There’s a little eight second acoustic part I put in with one of the guitars in an intro. We did a couple things like that to add some more dimension, I guess. I don’t want to scare people, though. It’s what you’d expect. The guitar sound is a bit clearer and crunchier than the past. We’re really happy with the production, it’s really tight.”

3TEETH

OMF

Industrial is enjoying something of a renaissance at the moment amongst young bands, with Youth Code, Uniform and Street Sects all releasing good albums over the last year. ‘<shutdown.exe>’ is the most convincing addition to the canon so far, thanks to the songwriting (and MASSIVE production). By the end of ‘Pit Of Fire’, the second track, it should be evident that 3TEETH know how to write great hooks. ‘Voiceless’ is the true highlight though, with euphoric synths soaring above the grinding chug. ‘<shutdown.exe>’ is a love letter to everything that made ’90s industrial and EBM great, with a production job for 2017. Heavily recommended for old and new fans of the genre alike.

[8] TOM SAUNDERS

ARCADEA

‘Arcadea’

RELAPSE

Even if you didn’t know that one-third of this band is Mastodon’s Brann Dailor, you may have guessed so, given the drumming and singing style. This, despite the fact that the debut by Arcadea – the other two-thirds being members of Withered and Zruda – appears at first glance to be bogged down in psychedelic/acid rock-era effects in order to replicate the experience of tripping balls. ‘Arcadea’ summons memories of late night, suburban basement mumble-fests about what rules harder: Taurus Pedal-era Rush, early Yes or pre-Collins Genesis followed by laser disc screenings of ‘The Wall’ and ‘Blade Runner’. And if that verbal-visual leaves you none the wiser, maybe you should stop worrying about who/what this sounds like and just enjoy its otherworldly air.

[8] KEVIN STEWART-PANKO

BARRABUS

‘Barrabus’

UNDERGROOVE

It’s been ten years in hibernation, but now the giant sound of Barrabus has re-emerged with a debut album that gathers a decade’s worth of unhinged fury, dons a suit and tie, and pretends to be respectful. They may wear suits but their Melvinsmeets- The-Cardiacs-on-the-way-to-a- Killing-Joke-show-via-a-Refused-gig style will not be welcome at the annual office party (well, unless it’s ours). There is such a massive groove within every song that it doesn’t matter how insane Paul Catten’s vocals get (and they go beyond anything he did in Medulla Nocte), you can’t help but want to move, shake and convulse along to the delirium. Insanely brilliant.

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About Terrorizer Magazine

I can still recall the phone call I had from Earache’s label manager Dan about this incredibly awesome Polish band the label had just signed called Decapitated. The enthusiasm that he conveyed down the phone line was infectious and although I was working for a more mainstream metal/rock mag at the time, and bands like Decapitated were on the periphery of the magazine’s demographic, I was excited to check them out. Sure enough the sheer power, professionalism and technical brilliance that pummelled out of the office speakers was enough to have me (and the office) hooked in a nanosecond. That was, of course, back in 2000 when Decapitated had just released their incredible (and still awesome) ‘Winds Of Creation’. Fast-forward seventeen years and even though Lady Luck has not, in many ways, been on the band’s side, Decapitated have continued to push their own creative boundaries and their new album ‘Anticult’ is testament to this. It’s a pleasure to have them grace Terrorizer’s new cover and we hope you enjoy reading about the album’s creation and everything that’s been going on in their world. Elsewhere, we’ve put all our collective blood, sweat, tears and breakdowns into ensuring we have all bases covered in the extreme world. It’s a volatile time right now, but music continues to bring plenty of pleasure, so indulge in it as much as you can! See you next month! Darren Sadler
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