#century-media — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #century-media, aggregated by home.social.
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At The Gates - The Ghost of a Future Dead (24-bit HD audio)
https://centurymedia.bandcamp.com/album/the-ghost-of-a-future-dead-24-bit-hd-audio
#deathMetal #melodicMetal #metal #archEnemy #atTheGates #centuryMedia #gothenburg #gothenburgSound #melodicDeathMetal #dortmund
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I remember the Trolsk Sortmetall box being announced for pre-order, back in 2014. I set my alarm at the right date and time, for a chance to get me one of the 3000 copies.
Only to find out Century Media failed to communicate the correct date, and opened pre-orders one week EARLIER. It got sold out within literally seconds. Many people were so pissed. I was one of them.
Glad to close this vinyl adventure twelve years later today. :')
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Kanonenfieber – Live In Oberhausen #CenturyMedia #compactdisc #kombi
https://www.instagram.com/reel/DSPxvwUDjs2/?igsh=b3Byejlzd3BiZGY= -
Kanonenfieber – Live In Oberhausen #CenturyMedia #compactdisc #kombi
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Arch Enemy – Covered In Blood #cd #HellionRecords #idHEL1279 #DeathMetal #CenturyMedia #Kyrios #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise
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Sanguisugabogg – Hideous Aftermath Review
By Owlswald
This review almost didn’t happen. As the recently demoted were scraping the last bit of slime off the bottom of the skull pit to prepare for the new haul of Fall promo, we inadvertently found Sanguisugabogg’s third full-length, Hideous Aftermath, submerged in the sludgy remains of two ex-n00bs. Mistakes were made for which we do do not apologize. These Ohio-based purveyors of grimy, gore-inspired brutal death may have a name worthy of the national Spelling Bee and a logo that looks like blood-soaked, tangled string, but these chaps know how to dish out the goods. Spawning from Maggot Stomping grounds in 2019, Sanguisugabogg’s tongue-in-cheek brutality has raised them up to the forefront of this fetid genre. After a debut EP built considerable buzz, Diabolus and Felagund found follow-up LPs Tortured Whole and Homicidal Ecstasy to be forthright and fun slabs of brutal death. Hideous Aftermath now signals a shift, honing their caveman chugs to embrace more expansive horizons, but in the end, it’s still big gory, dumb fun.
On Hideous Aftermath, Sanguisugabogg sheds the muddy textures of 90s death for a significantly sharper and more organic sound. This is largely thanks to stellar production by Kurt Ballou (Converge, Nails). After long self-producing, Sanguisugabogg trusted Ballou’s expertise1 to elevate their sound, ditching the split low-end signal of the guitar in favor of real bass (played by guitarists Cedrik Davis and Drew Arnold) to add a clearer, punchier low-end. The result is a loud, full mix that still allows every nuance of the instrumentation to shine through. From Davis and Arnold’s chunky, downtuned guitar grooves, to Devin Swank’s stomach-churning gutturals, to Cody Davidson’s flashy, intricate kit work (including the trademark snare ping), everything hits like a fucking tank. Tracks like “Erotic Beheading,” “Abhorrent Contraception” and “Rotted Entanglement” Vomit Forth a platter of the ‘Bogg’s familiar chugs and slams, while facets of Vile Rites progressiveness (“Sanctified Defilement”), Godflesh-tinged industrial (“Replusive Demise”), sludgy drawls (“Paid in Flesh”) and laser blasts (“Semi Automatic Facial Reconstruction”) show the foursome at their boldest and most creative. Despite this internal split, Hideous Aftermath is a welcome evolution for Sanguisugabogg and a good time to boot.
Let’s curb any potential misconceptions: while Hideous Aftermath finds Sanguisugabogg exploring new sonic territory, it’s first and foremost the same ugly, blood-thirsty, brutal death that existing fans know and love. Across ten songs, the ‘Bogg bludgeons the listener with an unrelenting assault of riffs, blasts, breakdowns and half-time stomps. Moments of respite are few before the artillery fire of Davidson’s brilliant, anchoring rhythms resumes the barrage. Davidson’s drumming remains the top highlight, elevating Sanguisugabogg’s songwriting with technical aggression through flawless double bass runs, Bran Dailor-esque (Mastodon) snare rolls and violence-inducing bell work. Standout front-half tracks like “Abhorrent Contraception,” “Rotted Entanglement” and “Ritual of Autophagia” showcase the group’s strongest material to date. Here, pummeling brutality meets discordant melodies (“Ritual of Autophagia”), swirling arpeggiations (“Rotted Entanglement”) and djenty gallops (“Felony Abuse of a Corpse”). Coupled with the injection of high-caliber guests,2 these new twists and turns give Hideous Aftermath’s material a different, fresh feel and I’m here for it.
While the first half of Hideous Aftermath proves Sanguisugabogg is capable of taking calculated steps forward, the record’s overall impact is weakened by its excessive 47-minute length and hesitant execution in the final stretch. The record feels front-loaded, with later tracks “Erotic Beheading,” “Semi Automatic Facial Reconstruction,” and “Sanctified Defilement” hindered by conventionality, lacking the strength and progressiveness of the album’s stronger material. Accordingly, Hideous Aftermath would have benefited from trimming two or three tracks to distill its best ideas. The ambitious industrial interlude “Repulsive Demise,” for example, feels awkward and out of place, while the sludgy ending to the otherwise solid “Pain of Flesh” drones on unnecessarily for four minutes, further underscoring the pacing issue.
But make no mistake—Hideous Aftermath is the best material Sanguisugabogg has released to date, largely succeeding in balancing evolution with tradition. The album confidently delivers the ‘Bogg’s trademark slams and neck-snapping grooves that longtime fans expect, while integrating new twists and turns that showcase a newfound artistic confidence. Though the final stretch wades too far into the deep end and keeps me from awarding Hideous Aftermath a higher score, the record sets a clear path for future greatness. It’s no longer a question of if Sanguisugabogg will ascend, but when.
Rating: Good!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Century Media
Websites: sanguisugabogg.bandcamp.com | sanguisugabogg.com | facebook.com/sanguisugabogg
Releases Worldwide: October 10th, 2025#2025 #30 #AmericanMetal #CattleDecapitation #CenturyMedia #Converge #DeathMetal #DefeatedSanity #FullOfHell #Godflesh #HideousAftermath #Mastodon #Nails #Oct25 #PeelingFlesh #Review #Reviews #Sanguisugabogg #VileRites #VomitForth
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Arch Enemy – As The Stages Burn! #cd #ValhallMusic #idVLH036 #DVD #DeathMetal #CenturyMedia #Kyrios #SavageMessiah #AA1000 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise #há1ano
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Dark Angel – Leave Scars #cd #ShinigamiRecords #id3E034 #Reissue #ThrashMetal #CenturyMedia #ÁgataTecnologia #Twister #AA0001000 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #kombi #noise
https://www.instagram.com/reel/DO3mpkdDika/?igsh=cHdjYndqOXRpazBn -
Recensie: The Gathering – Nighttime Birds ★★★★½
https://writteninmusic.com/albumrecensie/the-gathering-nighttime-birds/ -
Concert: Zeer geslaagde reünie The Gathering in Doornroosje
https://writteninmusic.com/concertverslag/zeer-geslaagde-reunie-the-gathering-in-doornroosje/ -
By ClarkKent
Between 2018 and 2021, the Danish quintet, BAEST, dished out three albums of brutal, intense death metal. Ferrous Beuller had high praise for their sophomore release, Venenum, singling out its “superior songwriting” and hailing BAEST as among his “favorites in the death metal flood of 2018.” COVID slowed their momentum, however, leaving a four-year gap between Necro Sapiens and Colossal. This span of time has given BAEST plenty of time to reflect, and, as a result, fans will find them a notably different group. Any changes a band makes to their core sound risks alienating fans, but on the flip side, keeping strictly to the limits of a genre can also hamper creativity. It’s less important that a band sticks to their core sound than it is to write and play enjoyable music. Regardless of whether they have succeeded in this goal, you best prepare to baste your ears in the roar of the beast that BAEST has unleashed.
There’s no doubt when “Stormbringer” starts up that this is a different BAEST. The brutal, muscular guitar riffs have been stripped down to something closer to arena rock–think Accept or 90s-era Metallica. Yet Simon Olsen’s vocals and Sebastian Abildsten’s drumming still bring the thunderous power of the BAEST of old, placing them more in line with deathened rock.1 Brutal or not, it’s hard to complain when the song is as fun as “Stormbringer” or “King of the Sun.” “Stormbringer” probably best meshes the old BAEST with the new. Opening with anthemic rock riffs, it eventually settles into their old might, but with a fresh energy. “King of the Sun” is the catchiest of the bunch, anchored by infectious riffs and mesmerizing cymbal taps that’ll keep themselves securely lodged in your brain. This tune best outlines the musical potential that BAEST taps into by leaving the confines of brutality.2
Unfortunate inconsistencies keep Colossal from being a smooth listening experience, however. According to the promo notes, BAEST did not start off in their new direction–first they wrote “Colossus” and “Imp of the Perverse.” These tracks feel slightly out of place due to their slower pacing and doomier vibe. They’re fine songs, but they’re also not as compelling as the better material described above. About 90 seconds in, “Colossus” boasts an outpouring of high-octane energy that is 30 seconds of death metal bliss. Yet the remainder of the track is just okay, and it becomes grating to hear Olsen repeat the word “Colossus” over and over. “Imp of the Perverse” fares better as an overall song, and fans of Edgar Allan Poe will be happy with its lyrics: Olsen begins by singing “I stand upon the brink of a precipice.” But at 6 minutes, it drags on a tad long and also suffers from the repetition problem of “Colossus,”one that plagues much of Colossal.
I’ve described the good and the decent, and now I get to the ugly. It’s unfortunate that two of the longer songs on Colossal (“In Loathe and Love” and “Depraved World”) do little to stand out with catchy hooks or interesting riffs. That they drag on for so long is baffling. They do little to earn their lengthier stays–nothing progressive, no riffs or choruses that make you want the songs to continue past a few minutes. And some of those riffs are just plain bad. “In Loathe and Love” starts off decently before breaking into chords that awkwardly pull away from the melodicism of the intro. Even “Depraved World” has some good ideas, but they overstay their welcome by repeating themselves “time and again” for 6 minutes.3 I can’t fault the musicians so much as the inconsistency of the songwriting.
BAEST acknowledge that the new direction they take with Colossal risks alienating their fans. But they wanted to write songs that are fun and catchy. While they do succeed on that front to an extent, a chunk of what they play is not very fun or catchy. The lesser material does a disservice to the stuff that is really good. It makes the 42-minute album feel much longer. 4 In the end, they lose the brutal bite of years past, but the trade-off is only a few really catchy songs, some that are decent, and a couple of clunkers. It’s a shame. I really enjoy listening to these guys play, and when they click, like on “King of the Sun,” it’s a blast. Hopefully, next time they’ll have more of that same magic.
Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Century Media
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: August 15th, 2025#25 #2025 #Accept #Aug25 #Baest #CenturyMedia #Colossal #DanishMetal #DeathMetal #Metallica #Review #Reviews
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Triptykon With The Metropole Orkest – Requiem #cd #EncoreMusic #HeavyMetalRock #CenturyMedia #AA000500 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #fusca #kombi #noise
https://www.instagram.com/reel/DNLk1chO59n/?igsh=bmYyeHFoYjB1a3Zs -
Triptykon With The Metropole Orkest – Requiem #cd #EncoreMusic #HeavyMetalRock #CenturyMedia #AA000500 #cdpost #cdcollection #discoécultura #compactdisc #digitalaudio #GradienteS96 #PanasonicDVDS29 #fusca #kombi #noise
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Heaven Shall Burn – Of Truth & Sacrifice #cd #ValhallMusic #idMer005 #MedievalRecords #KyriosCD #CenturyMedia #Metalcore #cdpost #cdcollector #cdcollection #discoécultura #compactdisc #digitalaudio #gradienteS96 #PanasonicDVDS29 #kombi #noise #há1ano