#carnal-savagery — Public Fediverse posts

https://www.europesays.com/ie/205877/ Carnal Savagery – Crypt of Decay Review #2.5 #2025 #CarnalSavagery #CryptOfDecay #DeathMetal #Dismember #Éire #Entertainment #Entombed #GravewormsCadaversCoffinsAndBones #IE #Ireland #MoribundRecords #Music #Nov28 #Review #Reviews #SlaughterOfTheSoul #SwedishMetal

Carnal Savagery – Crypt of Decay Review

By Steel Druhm

Advanced scientific studies indicate that the style of metal known as “Swedeath” will not die and may, in fact, be incapable of being killed. The foundation created by Entombed and Dismember in the early 90s cemented the “Stockholm Sound” so deeply in musical bedrock that forecasters predict it could function like an everflowing stream for untold aeons. Enter Sweden’s Carnal Savagery. This gruesome duo have gone in big on the Swedeath formula, releasing 6 albums of it since 2020, all of which pay loving homage to the genre’s forefathers. Crypt of Decay is their 7th album in 5 years, so clearly, they just can’t stop spewing this fetid gunk into the world at a reckless pace. What does the new material sound like? Well, DisEntombed, of course. It’s got exactly zero new ideas, even less innovation, and you’ll be subjected to endlessly recycled ideas all powered by the force of the HM-2 pedal. Guitars will buzz, vocals will wretch, and you’ll ingest mass quantities d-beated death. Sound good?

As with many Carnal Savagery releases, they come out strong with a ripping, tearing monstrosity on “Entangled in Barbed Wire.” Rather than the usual thievery from the first few Dismember records, this sounds a whole lot like something off Slaughter of the Soul due to the riff patterns and the hyperkinetic energy (maybe even too much like something off Slaughter of the Soul). Flagrant influence humping aside, it’s a rousing blast of death metal with teeth and badass energy, so it works. As “Amputation” rolls in, it’s back to the Stockholm salt mines for the expected poaching off albums like Indecent and Obscene and Massive Killing Capacity. What sells it for me besides the furious energy is how it sounds like the vocalist keeps bellowing “GRAMPUTATION!,” leaving me to wonder why he hates old dudes so much. “Torn from the Grave” is another burner with vicious, blasting fury, and it’s interesting enough to get by despite some oh so familiar riffs.

From here, however, the ground becomes more unsteady. Some tracks just kinda lie there and refuse to play ball. “Scalped and Flayed” goes too far down a death-doom rat hole and feels lifeless and dull, while “Gruesome Death” feels generic and stock standard. At times, there’s an injection of the classic Wolverine Blues swagger and rock-based swing as on “Curse of the Catacomb” and the title track, but it doesn’t completely work. Overall, you get roughly half an album’s worth of C+ and B-level Swedeath with some clunkers and also-rans popping up to drag the momentum downward. Unfortunately, this is an issue Carnal Savagery struggles with regularly. They write some bangers to hook you in, then the wheels come off the War Wagon before they reach the finish line. Thankfully, most of the songs run only 2-3 minutes, so nothing gums up the works too severely (except “Gruesome Death”), and the 34-plus-minute runtime is short enough to stave off most variants of Swedeath fatigue.

Swedeath needs riotous, raucous and deadly riffs to fully capture the brainpan, and Mikael Lindgren can and does deliver some of these, usually with a strong Dismember flavor. But he also lapses into less stellar leads and ideas a bit too often, causing some cuts to feel generic and half-baked. His flowery solo style is a nice relief from the neanderthal buzz and brutality, showing another side of the duo’s identity, and that should be explored a bit more often to keep things interesting. Mattias Lilja’s death vocals are solid and full of greasy charm, sitting somewhere between the late, great L.G. Petrov and Dismember’s Matti Kärki. He doesn’t offer much in the way of versatility, but you don’t come here for that anyway. As per usual, it’s the songwriting that lets them down, with some tracks being killer and others ending up closer to filler.

Carnal Savagery usually serve up 3-4 songs that put a meat fork in your adrenal gland and activate your altered beat. The rest range from okay and underwhelming. Crypt of Decay is right in that modality. The good is fun, the rest is tolerable but non-essential. That sounds like a playlist poacher to me! Desecrate the Crypt and take what you like and leave the rest to rot in peace.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 256 kbps mp3
Label: Moribund Records
Websites: facebook.com/carnalsavagery | instagram.com/carnalsavagery
Releases Worldwide: November 28th, 2025

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CARNAL SAVAGERY (Suècia) presenta nou àlbum: "Crypt of Decay" #CarnalSavagery #DeathMetal #Novembre2025 #Suècia #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Carnal Savagery – Graveworms, Cadavers, Coffins and Bones Review

By Steel Druhm

HM-2 pedal worshiping Swedeath purveyors Carnal Savagery have a strange way of doing business. In 2022 they released not one, but TWO full-length albums. The product was the same both times: Dismember and Entombed worship with enough buzz and fuzz on the guitars to disrupt air traffic over Scandinavia. I covered Worm Eaten and found it to be “meat n’ scab taters death” and enjoyable if not essential. They were pretty quiet in 2023, but in January of this year, they dropped Into the Abysmal Void, which our man Felagund considered a standard issue “Meat and potatoes”1 death platter with enough good bits to hit the spot. Now, 10 months later they drop a second album. Graveworms, Cadavers, Coffins and Bones may sound like the companion album to Autopsy’s Ashes, Organs, Blood and Crypts, but it’s another dose of Dismembercore with only occasional nods to American stenches. Can the band keep producing fresh sounds with such an ambitious release schedule and a style that was already dated at the turn of the century? Let’s examine their burial plan.

You know exactly what you’re getting with these guys, so when opener “Nailed to the Cross” mimics the sound of Dismember’s magical debut, it won’t come as an everflowing stream of surprise. It’s quite good and those H(e) M(an)-2 riffs are potent and packed with raw power. It’s thrashing, brutish, and reeks of 1991 so I’m hard-wired to enjoy it. If the rest of Graveworms were this stout, I would put myself on a strict Diet of Worms. Unfortunately, the album swings from tasty gravecakes to bland and timid entries, suitable, perhaps, for patients recovering from a Taylor Swift deprogramming. First the good. “Gallery of Flesh” is a slashing, flaying warbeast full of sharp riffs and bulldozing momentum. It got moved to Steel‘s Leg Day Playlist after half a spin and there it will live in eternal infamy. The title track is also highly enjoyable, ripping away with whirring riffs and thunderous drumming only to segway into hideously massive death doom that smells like Autopsy looks. At one point vocalist Mattias Lilja bellows something that sounds like “PAPA JOHNS” and it makes me want to order crappy, salty pizza every time I hear it. “Burnt to Death” also stands out with a mighty d-beat and some shockingly nimble and slick solo work.

On the flip side of the casket garden, several tracks feel stock standard or suffer from issues that derail otherwise decent tuneage. “Carnal Blasphemy” has a jaunty swagger that feels out of place with the rest of the album and the song never really clicks into high gear. “Bind, Torture, Kill” is the most rudimentary caveman shit imaginable and it never leaves mom’s basement despite melodic soloing that stands out like a turd in a Cannibal Corpse. The low point comes with “Autopsied Alive” which is just painfully listless and dull as fook. Things wind out with back-to-back lackluster nuggets, making the bulk of Graveworms underwhelming. The 35-minute runtime helps the entire concoction go down relatively easy though, aided by song lengths that generally run 2-3 minutes. The production is fine for the style with a mastering job by Dan “the Fucking MAN” Swanö that accentuates that harsh, raw guitar tone to the nth degree.

Mikael Lindgren handles guitars, bass and drums here and his riffing is the most appealing aspect of the Carnal Savagery experience. He has the classic Dismember sound and style down cold, but he also borrows from the likes of Bolt Thrower and every so often, Cannibal Corpse and Autopsy. He really breaks out of the mold when it comes to soloing, at times reminding of prime James Murphy. He even goes neo-classical here and there, creating an interesting counterpoint to the Neaderthal thuggery the album marinates in. His bass work is also tasty and often quite present. Mattias Lilja is a solid death croaker with a sound somewhere between L.G. Petrov and Marduk’s Mortuus. He fits the material just fine. It’s the inconsistent writing that submarines things, with less than half of the songs delivering a nasty wallop.

I’m not in the business of giving free advice, but it might be in Carnal Savagery’s best interest to release one album a year. If you take the best moments from Graveworm and add them to the top bits on Into the Abysmal Void, you’d be cooking with cadaver gas. Sometimes less is Moar when it helps the less BE MOAR. You can count on a few ace moments, but this trip to the chopping mall gets boring.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Moribund
Websites: carnalsavagery.bandcamp.com | facebook.com/carnalsavagery | instagram.com/carnalsavagery
Releases Worldwide: November 22nd, 2024

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