#inhumancondition — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #inhumancondition, aggregated by home.social.
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By now you have all grown sick of #aoty #aoty2025 lists, right? Bear with us, we have one more for you to suffer through! 😁 Here are the 10 #metal releases that hit us the hardest, in alphabetical order. This wasn’t exactly easy as 2025 was full of new high quality material.
#DeathKommander
Never To Grow Old#gaahlswyrd
Braiding The Stories#gorekaust
Fleshcross#gravehex
Vermian Death#gruesome
Silent Echoes#inhumancondition
Mind Trap#Malthusian
The Summoning Bell#proscription
Desolate Divine#sijjin
Helljjin Combat#teitanblood
From the Visceral Abyss -
By now you have all grown sick of #aoty #aoty2025 lists, right? Bear with us, we have one more for you to suffer through! 😁 Here are the 10 #metal releases that hit us the hardest, in alphabetical order. This wasn’t exactly easy as 2025 was full of new high quality material.
#DeathKommander
Never To Grow Old#gaahlswyrd
Braiding The Stories#gorekaust
Fleshcross#gravehex
Vermian Death#gruesome
Silent Echoes#inhumancondition
Mind Trap#Malthusian
The Summoning Bell#proscription
Desolate Divine#sijjin
Helljjin Combat#teitanblood
From the Visceral Abyss -
By now you have all grown sick of #aoty #aoty2025 lists, right? Bear with us, we have one more for you to suffer through! 😁 Here are the 10 #metal releases that hit us the hardest, in alphabetical order. This wasn’t exactly easy as 2025 was full of new high quality material.
#DeathKommander
Never To Grow Old#gaahlswyrd
Braiding The Stories#gorekaust
Fleshcross#gravehex
Vermian Death#gruesome
Silent Echoes#inhumancondition
Mind Trap#Malthusian
The Summoning Bell#proscription
Desolate Divine#sijjin
Helljjin Combat#teitanblood
From the Visceral Abyss -
CD-Review - INHUMAN CONDITION - Mind Trap
https://www.hooked-on-music.de/review/cd-review-inhuman-condition-mind-trap/16333
#cd #review #inhumancondition #mindtrap -
INHUMAN CONDITION (Estats Units) presenta nou single: "Burial State" #InhumanCondition #DeathMetal #ThrashMetal #Agost2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou single: "Burial State" #InhumanCondition #DeathMetal #ThrashMetal #Agost2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou àlbum: "Mind Trap" #InhumanCondition #DeathMetal #ThrashMetal #Juny2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou àlbum: "Mind Trap" #InhumanCondition #DeathMetal #ThrashMetal #Juny2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou àlbum: "Mind Trap" #InhumanCondition #DeathMetal #ThrashMetal #Juny2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou àlbum: "Mind Trap" #InhumanCondition #DeathMetal #ThrashMetal #Juny2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou àlbum: "Mind Trap" #InhumanCondition #DeathMetal #ThrashMetal #Juny2025 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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Inhuman Condition – Mind Trap Review
By Tyme
Inhuman Condition has been repping 90s-era Floridian death metal since 2020. Comprised of former Massacre members Jeramie Kling, Taylor Nordberg, and Terry Butler, Inhuman Condition‘s debut, Rat°God, was the best thing Massacre never recorded post From Beyond, garnering a 3.5 from our overlord and hater of over raters, Steel. Presumably rushed was 2022’s sophomore effort, Fearsick, which saw Inhuman Condition take a step backward despite sporting additional guitar appearances from Rick Rozz himself. With a freshly gory, revamped logo by Mark Riddick adorning yet another beautiful cover by Dan Goldsworthy,1 Inhuman Condition returns with its third offering, Mind Trap. Will this outing see Inhuman Condition walk a path of redemption and assume its own identity, or will it stumble again and continue suffering Massacre‘s curse of ever-diminishing relevance?
Eschewing technicality and bouts of blistering speed, Inhuman Condition remain flagbearers of groovily mid-paced, thrashy death metal. Having simmered for a few years, however, Mind Trap feels fully cooked, more akin to Rat°God than Fearsick as Inhuman Condition further distance themselves from overt Massacre clone-ialism. Suffused with a renewed sense of immediacy, Nordberg’s re-energized guitar work features plenty of Rozz dives into the whammy pool (“Severely Lifeless,” “GodShip”), as well as serpentine solos and a multitude of chuggy-chunk riffs (“Chaos Engine,” “Obscurer”). His Royal Bassist, Terry Butler, continues to lay down a fat-bottomed low end that adds weight to Nordberg’s muscular machinations and hangs meatily on the hooks of Kling’s pounderous drumming, whose vocals, too, hit that brutal yet discernible sweet spot. For Inhuman Condition, simple is as simple does, and though Mind Trap adheres smashingly to the groovy, cavemanic formula perpetuated by the likes of Six Feet Under and Jungle Rot, it’s got the legs to outrun the pack.
Mind Trap‘s thirty-one-minute runtime whisks you along faster than an In-N-Out Burger drive-thru and is full of bite-size death metal bits, most of them sirloin, but some filet mignon. One such morsel, lyrically penned by Cannibal Corpse‘s Paul Mazurkiewicz,2 and an album highlight, “Face for Later” is a viscerally speedy and satisfying death metal romp with up-tempo riffs, crazed solo work, and a chorus that will earworm its way in and haunt your corrupted brain. Also of note are the grower, not show-er riffs and quirky tempos of “The Betterment Plan,” which improved for me with repeated listens, and the mildly atmospheric “Recollections of the Future,” sporting a “King Con”-ic intro and guest vocals from Jonas Kjellgren (Carnal Forge, Scar Symmetry). Intact since inception, this stalwart lineup has defied its Massacred beginnings through sustained continuity. Mind Trap reflects an Inhuman Condition stepping further into their own, and more importantly, back in a positive direction.
Inhuman Condition once again took up arms and recorded at Smoke & Mirrors Productions, with Kling’s mix and Nordberg’s master suffusing Mind Trap in a rich warmth that gives every meaty riff, beefy bass line, and brawny beat the space needed to thrive. Yet, even excellent production cannot overcome limp songwriting, and not all the tracks on Mind Trap stand out. With its doomy, Sabbathian trilled intro and straightforwardly speedy and boring midsection, “Mind | Tool | Weapon” did nothing to rouse my fist to pump or my head to bob. Then, the awkward riffs and sloppy guitar runs of “Science of Discontent” came across as amateurish and were not only a poor way to conclude the album but also an example of the material’s inferiority.Unlike Gruesome, who are happy to release quality albums that mimic their influences, Inhuman Condition continues to stitch a unique niche in the tapestry of OSDM and, in doing so, leave their Massacre ties further behind. Mind Trap is a fun, not too serious, attention-deficit-friendly death metal album that further exemplifies Inhuman Conditions growing coalescence. Among this trio’s other projects, of which Obituary (Butler), Deicide (Nordberg), and Goregäng (Nordberg and Kling) are just a few, it seems these guys genuinely enjoy playing together as Inhuman Condition. Mind Trap‘s got plenty to sink your teeth into, and I’m sure songs like “Face for Later” and “Obscurer” will go over well in a live setting. I was glad to hear Inhuman Condition returned to form here, and I would recommend you give Mind Trap a few spins this summer yourself.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320kbps mp3
Label: High Roller Records (Europe)
Websites: Bandcamp | InhumanCondition.com | Facebook
Releases Worldwide: June 27th, 2025#2025 #30 #AmericanDeathMetal #DeathMetal #HighRollerRecords #InhumanCondition #Jun25 #JungleRot #Massacre #MindTrap #Review #SixFeetUnder
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INHUMAN CONDITION (Estats Units) presenta nou single: "Severely Lifeless" #InhumanCondition #DeathMetal #ThrashMetal #Abril2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou single: "Severely Lifeless" #InhumanCondition #DeathMetal #ThrashMetal #Abril2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou single: "Severely Lifeless" #InhumanCondition #DeathMetal #ThrashMetal #Abril2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou single: "Severely Lifeless" #InhumanCondition #DeathMetal #ThrashMetal #Abril2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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INHUMAN CONDITION (Estats Units) presenta nou single: "Severely Lifeless" #InhumanCondition #DeathMetal #ThrashMetal #Abril2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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Charting the course to 2025: reflecting on 70000tons of Metal 2024 Artist Spotlight: Inhuman Condition:
#InhumanCondition #70000tons #70000tonsOfMetal #ArtistSpotlight
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Charting the course to 2025: reflecting on 70000tons of Metal 2024 Artist Spotlight: Inhuman Condition:
#InhumanCondition #70000tons #70000tonsOfMetal #ArtistSpotlight
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Charting the course to 2025: reflecting on 70000tons of Metal 2024 Artist Spotlight: Inhuman Condition:
#InhumanCondition #70000tons #70000tonsOfMetal #ArtistSpotlight
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By Steel Druhm
In the history of death metal, Massacre were one of the early pioneers. They were cranking out demos in the mid-80s that would help set the parameters of what death metal would become and lineups included death luminaries like Allen West, Rick Rozz, Bill Andrews, and Kam Lee. Unfortunately, due to various issues Massacre didn’t get a proper album released until 1990 and by then the genre was alive and already evolving beyond them. A disastrous sophomore outing derailed the band before they ever really got going and that was that. 2021 saw two competing versions of Massacre release albums. Inhuman Condition featured several former Massacre members and aimed for their classic sound, and Massacre themselves launched Resurgence with original vocalist Kam Lee getting help from death metal workaholic Rogga Johansson. Resurgence was fun, primitive death for the old school oldies, but looking back, I definitely overrated it. Now we get the second album from the Kam/Rogga alliance and with Necrolution they’ve delivered a classic death platter carbon dated to 1990 but containing a few unexpected and unusual twists and turns. Can these old dawgs bring new energy to a crusty, moldy project?
Necrolution finds Massacre still in their proto-death safe space in line with their From Beyond debut. Opener “Fear of the Unknown” is like something from the late 80s and it could have appeared on From Beyond and fit right in. It’s early days caveman brutality, but it feels oddly diluted somehow. It segues into an out-of-left-field exotic Middle Eastern-themed interlude with symphonic and female choral work before switching to something that sounds like Candlemess-style epic doom metal on “Rituals of the Abyss.” The song eventually kicks over to a punky, Celtic Frost-inspired brand of Neanderthal death with all sorts of Tom G. Warrior-esque “UHs” and “OHs,” but the leaps between styles are too jarring and confusing. When Massacre sticks to their sweet spot you get enjoyably dumb bashers like “Ensnarers Within” and “The Colour Out of Space,” both of which hammer you with simple but effective riffage and Kam’s Cookie Monster cartoony death roars. The classic Massacre sound is generally present with the slightly punky energy from the old days offering no frills, brainless beatings. There are traces of the classic Swedeath d-beat mixed in for added spice, though things are kept more in the American style for much of the album’s runtime.
The back half has a few stompers too, with “Shriek of the Castle Freak” feeling like an extra-inspired dose of rancid Autopsy-core with an irresistibly scuzzy energy, and “Ad Infinitum: The Final Hour” brings down thew deathhammer hard with simple but effective thug death metal. The problem With Necrolution is that even the best moments tetter on the precipe of generic and stock death, and there are some underwhelming moments along with too many pointless interludes interrupting the forward momentum. “The Things That Were and Shall Be” is okay but feels like watered-down Deicide mixed with classic metal although it features plenty of classic Kam Lee “ARRRRRRRs” and “HEEEEEYs.” “Dead-Life: ReAnimator” is also decent but nothing special. As much as I’m a fan of the style and sound Massacre deploys here, I don’t connect with some of the material as strongly as I should considering I’m the olde death fogey demographic. When it works though, good ugly fun can be had. At 48-plus minutes, Necrolution feels a bit long-winded, and chopping a few lesser tracks would help make it a more focused, ass-kicking spin.
As always Kam Lee is a joy to hear. He gets credit for more or less inventing death vocals and he’s still got a large and in-charge roar. Yes, he often sounds like a 20-foot-tall Cookie Monster, but that’s part of the fun. He’s a legend in the genre he helped create and he brings much phlegm and rot to the pit. Extremely well-traveled death institution Mr. Rogga (Paganizer, Putrevore, Ribspreader, and 500 other bands) and almost equally seasoned axe-man Johnny Pettersson (Rotpit, Heads for the Dead, Wombbath, etc.) know their way around the riff machine and bring a motley collection of chugs, grooves, d-beats, and doom plods to the slaughter. They do a good job keeping the songs moving and bouncing and provide a steady diet of headbangable moments. There’s nothing special or unique to what this version of Massacre do, but if you love the olden style of death metal, there’s a lot to appreciate in how they execute it.
I want to love Necrolution more than I do. It has its share of fun moments but it has some so-so moments too and the excessive, out-of-place interludes distract from the brain-smashing. If this is where Massacre is destined to sit quality-wise, I can live with that and will give every release a spin and mine the best moments. This won’t be on many year-end lists but it’s still an enjoyable ride with some familiar fiends.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Agonia
Websites: massacre3.bandcamp.com | facebook.com/massacrebandusa | instagram.com/massacre_band_official
Releases Worldwide: November 8th, 2024#25 #2024 #AgoniaRecords #AmericanMetal #DeathMetal #InhumanCondition #Massacre #Necrolution #Nov24 #Resurgence #Review #Reviews
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By Steel Druhm
In the history of death metal, Massacre were one of the early pioneers. They were cranking out demos in the mid-80s that would help set the parameters of what death metal would become and lineups included death luminaries like Allen West, Rick Rozz, Bill Andrews, and Kam Lee. Unfortunately, due to various issues Massacre didn’t get a proper album released until 1990 and by then the genre was alive and already evolving beyond them. A disastrous sophomore outing derailed the band before they ever really got going and that was that. 2021 saw two competing versions of Massacre release albums. Inhuman Condition featured several former Massacre members and aimed for their classic sound, and Massacre themselves launched Resurgence with original vocalist Kam Lee getting help from death metal workaholic Rogga Johansson. Resurgence was fun, primitive death for the old school oldies, but looking back, I definitely overrated it. Now we get the second album from the Kam/Rogga alliance and with Necrolution they’ve delivered a classic death platter carbon dated to 1990 but containing a few unexpected and unusual twists and turns. Can these old dawgs bring new energy to a crusty, moldy project?
Necrolution finds Massacre still in their proto-death safe space in line with their From Beyond debut. Opener “Fear of the Unknown” is like something from the late 80s and it could have appeared on From Beyond and fit right in. It’s early days caveman brutality, but it feels oddly diluted somehow. It segues into an out-of-left-field exotic Middle Eastern-themed interlude with symphonic and female choral work before switching to something that sounds like Candlemess-style epic doom metal on “Rituals of the Abyss.” The song eventually kicks over to a punky, Celtic Frost-inspired brand of Neanderthal death with all sorts of Tom G. Warrior-esque “UHs” and “OHs,” but the leaps between styles are too jarring and confusing. When Massacre sticks to their sweet spot you get enjoyably dumb bashers like “Ensnarers Within” and “The Colour Out of Space,” both of which hammer you with simple but effective riffage and Kam’s Cookie Monster cartoony death roars. The classic Massacre sound is generally present with the slightly punky energy from the old days offering no frills, brainless beatings. There are traces of the classic Swedeath d-beat mixed in for added spice, though things are kept more in the American style for much of the album’s runtime.
The back half has a few stompers too, with “Shriek of the Castle Freak” feeling like an extra-inspired dose of rancid Autopsy-core with an irresistibly scuzzy energy, and “Ad Infinitum: The Final Hour” brings down thew deathhammer hard with simple but effective thug death metal. The problem With Necrolution is that even the best moments tetter on the precipe of generic and stock death, and there are some underwhelming moments along with too many pointless interludes interrupting the forward momentum. “The Things That Were and Shall Be” is okay but feels like watered-down Deicide mixed with classic metal although it features plenty of classic Kam Lee “ARRRRRRRs” and “HEEEEEYs.” “Dead-Life: ReAnimator” is also decent but nothing special. As much as I’m a fan of the style and sound Massacre deploys here, I don’t connect with some of the material as strongly as I should considering I’m the olde death fogey demographic. When it works though, good ugly fun can be had. At 48-plus minutes, Necrolution feels a bit long-winded, and chopping a few lesser tracks would help make it a more focused, ass-kicking spin.
As always Kam Lee is a joy to hear. He gets credit for more or less inventing death vocals and he’s still got a large and in-charge roar. Yes, he often sounds like a 20-foot-tall Cookie Monster, but that’s part of the fun. He’s a legend in the genre he helped create and he brings much phlegm and rot to the pit. Extremely well-traveled death institution Mr. Rogga (Paganizer, Putrevore, Ribspreader, and 500 other bands) and almost equally seasoned axe-man Johnny Pettersson (Rotpit, Heads for the Dead, Wombbath, etc.) know their way around the riff machine and bring a motley collection of chugs, grooves, d-beats, and doom plods to the slaughter. They do a good job keeping the songs moving and bouncing and provide a steady diet of headbangable moments. There’s nothing special or unique to what this version of Massacre do, but if you love the olden style of death metal, there’s a lot to appreciate in how they execute it.
I want to love Necrolution more than I do. It has its share of fun moments but it has some so-so moments too and the excessive, out-of-place interludes distract from the brain-smashing. If this is where Massacre is destined to sit quality-wise, I can live with that and will give every release a spin and mine the best moments. This won’t be on many year-end lists but it’s still an enjoyable ride with some familiar fiends.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Agonia
Websites: massacre3.bandcamp.com | facebook.com/massacrebandusa | instagram.com/massacre_band_official
Releases Worldwide: November 8th, 2024#25 #2024 #AgoniaRecords #AmericanMetal #DeathMetal #InhumanCondition #Massacre #Necrolution #Nov24 #Resurgence #Review #Reviews
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By Steel Druhm
In the history of death metal, Massacre were one of the early pioneers. They were cranking out demos in the mid-80s that would help set the parameters of what death metal would become and lineups included death luminaries like Allen West, Rick Rozz, Bill Andrews, and Kam Lee. Unfortunately, due to various issues Massacre didn’t get a proper album released until 1990 and by then the genre was alive and already evolving beyond them. A disastrous sophomore outing derailed the band before they ever really got going and that was that. 2021 saw two competing versions of Massacre release albums. Inhuman Condition featured several former Massacre members and aimed for their classic sound, and Massacre themselves launched Resurgence with original vocalist Kam Lee getting help from death metal workaholic Rogga Johansson. Resurgence was fun, primitive death for the old school oldies, but looking back, I definitely overrated it. Now we get the second album from the Kam/Rogga alliance and with Necrolution they’ve delivered a classic death platter carbon dated to 1990 but containing a few unexpected and unusual twists and turns. Can these old dawgs bring new energy to a crusty, moldy project?
Necrolution finds Massacre still in their proto-death safe space in line with their From Beyond debut. Opener “Fear of the Unknown” is like something from the late 80s and it could have appeared on From Beyond and fit right in. It’s early days caveman brutality, but it feels oddly diluted somehow. It segues into an out-of-left-field exotic Middle Eastern-themed interlude with symphonic and female choral work before switching to something that sounds like Candlemess-style epic doom metal on “Rituals of the Abyss.” The song eventually kicks over to a punky, Celtic Frost-inspired brand of Neanderthal death with all sorts of Tom G. Warrior-esque “UHs” and “OHs,” but the leaps between styles are too jarring and confusing. When Massacre sticks to their sweet spot you get enjoyably dumb bashers like “Ensnarers Within” and “The Colour Out of Space,” both of which hammer you with simple but effective riffage and Kam’s Cookie Monster cartoony death roars. The classic Massacre sound is generally present with the slightly punky energy from the old days offering no frills, brainless beatings. There are traces of the classic Swedeath d-beat mixed in for added spice, though things are kept more in the American style for much of the album’s runtime.
The back half has a few stompers too, with “Shriek of the Castle Freak” feeling like an extra-inspired dose of rancid Autopsy-core with an irresistibly scuzzy energy, and “Ad Infinitum: The Final Hour” brings down thew deathhammer hard with simple but effective thug death metal. The problem With Necrolution is that even the best moments tetter on the precipe of generic and stock death, and there are some underwhelming moments along with too many pointless interludes interrupting the forward momentum. “The Things That Were and Shall Be” is okay but feels like watered-down Deicide mixed with classic metal although it features plenty of classic Kam Lee “ARRRRRRRs” and “HEEEEEYs.” “Dead-Life: ReAnimator” is also decent but nothing special. As much as I’m a fan of the style and sound Massacre deploys here, I don’t connect with some of the material as strongly as I should considering I’m the olde death fogey demographic. When it works though, good ugly fun can be had. At 48-plus minutes, Necrolution feels a bit long-winded, and chopping a few lesser tracks would help make it a more focused, ass-kicking spin.
As always Kam Lee is a joy to hear. He gets credit for more or less inventing death vocals and he’s still got a large and in-charge roar. Yes, he often sounds like a 20-foot-tall Cookie Monster, but that’s part of the fun. He’s a legend in the genre he helped create and he brings much phlegm and rot to the pit. Extremely well-traveled death institution Mr. Rogga (Paganizer, Putrevore, Ribspreader, and 500 other bands) and almost equally seasoned axe-man Johnny Pettersson (Rotpit, Heads for the Dead, Wombbath, etc.) know their way around the riff machine and bring a motley collection of chugs, grooves, d-beats, and doom plods to the slaughter. They do a good job keeping the songs moving and bouncing and provide a steady diet of headbangable moments. There’s nothing special or unique to what this version of Massacre do, but if you love the olden style of death metal, there’s a lot to appreciate in how they execute it.
I want to love Necrolution more than I do. It has its share of fun moments but it has some so-so moments too and the excessive, out-of-place interludes distract from the brain-smashing. If this is where Massacre is destined to sit quality-wise, I can live with that and will give every release a spin and mine the best moments. This won’t be on many year-end lists but it’s still an enjoyable ride with some familiar fiends.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Agonia
Websites: massacre3.bandcamp.com | facebook.com/massacrebandusa | instagram.com/massacre_band_official
Releases Worldwide: November 8th, 2024#25 #2024 #AgoniaRecords #AmericanMetal #DeathMetal #InhumanCondition #Massacre #Necrolution #Nov24 #Resurgence #Review #Reviews
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Deicide – Banished by Sin Review
By Steel Druhm
The men of Glen are back! Long-running Barons of Floridian death metal, Deicide return for their lucky number 13 full-length. With a legacy of brutality running back to 1990, Deicide and controversial founder Glen Benton were instrumental in defining the sound of American death metal. Albums like Legion and The Stench of Redemption loom large in the Pantheon of Death, and though they’ve had a spotty track record over the years, a new Deicide platter will always earn attention from yours Steely. 2018’s Overtures of Blasphemy was a surprisingly vicious album and a significant step up from the records preceding it. It suggested a renewed fire and passion and made me hope the good days were not entirely behind Deicide. It’s with those high hopes that I greeted Banished by Sin. With Taylor Nordberg (Inhuman Condition, Ribspreader, ex-Massacre, ex-Wombbath) joining the fray to help out on guitar and vocals,1 there seemed plenty of reasons to be positive about what Banished by Sin would spew upon the masses. The Devil’s in the details though.
Right off the bat, the sound on Banished by Sin is oddly polished and clean, which goes against expectations for a damp Floridian death product. It almost sounds like an Iced Earth album with the guitars ringing so clear, which is odd considering this is undeniably old school death. Opener “From Unknown Heights You Shall Fall” is basic Deicide fare in most respects. It swerves from mid-tempo chugs to thrashing freakouts, with Benton’s signature vomitous snarls poured thickly over the top like tarpoo gravy. It’s a good song and the fluid, melodic solos are quite impressive. “Doomed to Die” channels a portion of the chaos magic that graced their Legion opus, with an effective blend of straightforward riffy blasting and well-timed melodic breaks. It’s good caveman fun and heavy enough to leave an ugly bruise despite the overly clean sound.
The warm-up sets out of the way, Banished blazes through 10 more tales of grand Satanism, with thrashy energy married to brutish grooves. Starting with “Sever the Tongue” the album hits its stride. “Sever” is a high point with a manic riff attack and vocals that sound like a discount exorcism going very wrong, at times crossing into Cradle of Filth territories. “Faithless” delivers in much the same way, with the classic Deicide sound running amok even as it flirts with melodeath in subtle ways before stomping your fat face into the gutter. “Woke from God” introduces a more epic sound to the Deicide canon, blackened and ugly but more grandiose and sweeping. “Bury the Cross…with Your Christ” sounds suspiciously like the recent output from Inhuman Condition, with a rudimentary caveman groove running train on your unlubed ears. It’s fun but borders on death parody. Sadly, some songs on the back half don’t hit with the same blunt force. The title track is just okay, and “I Am I…a Curse of Death” is pretty stock. At a tight 39 minutes with no song reaching the 4-minute mark, things blast by in an angry blur. The production is a thorn in the album’s side. It’s too polished and clean for what the band does and this reduces the material’s impact. This is a strange unforced error from such an experienced band.
Glen’s vocals sound more grisly and savage than on some recent releases. His guttural rasps can get tedious faster than other growlers, but the way he’s double-tracked with blackened screams helps provide diversity and Taylor Nordberg spots him with some backing vocals. Kevin Quirion and T. Nordberg deliver a charming assortment of thrashy riffs, sharp trems, and chuggy grooves to power the material forward, and the solo work dotting the album is dynamic and almost neo-classical at times (“The Light Defeated’ especially”). The solos are so melodic at times that they feel at odds with the surrounding music, but this provides an interesting counterpoint and a respite from the skull stomping.
Deicide aren’t able to recapture the late-career glory they bottled on Overtures of Blasphemy, and some tracks almost feel like a knowing send-up of death metal, but the overall package is entertaining despite a flawed production. There’s still unholy rage beating in the hearts of Glen and Co. and Banished by Sin is a fun, easy-to-digest serving of anti-religion bile. I suggest you leave a little room for Satan.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: https://deicideofficial.com | facebook.com/officialdeicide | instagram.com/deicideofficial
Releases Worldwide: April 26th, 2024Felagund
And just like that, we’re blessed with another Deicide album. “Blessed” is probably the wrong verb to use in this situation, but the fact remains that this year marks the first new Deicide record in six years. 2018’s Overtures of Blasphemy received high praise from our very own GardensTale, earning a coveted score of 3.5 and breaking an AMG tradition of offering middling to downright disappointing scores for ‘ol Glen and the boys. But say what you will about the quality of their more recent output, Deicide are still genre stalwarts; a foundational band in the development of the early Florida death metal sound who are still capable of churning out the sacrilegious goods. Which brings us to Banished by Sin, the band’s 13th studio album since their self-titled debut in 1990. That’s 34 years and a lot of history to be compared against, but compare we must, good sense and propriety be damned.
Just keep in mind, friends: Glen’s gonna Glen, and that holds just as true on Banished by Sin as it ever has. Regardless of lineup changes, the evolution of the death metal genre, and his own development as a musician, Glen Benton remains an ardent enemy of the divine, and he’s maintained that anger and disgust for over three decades. While it’s easy to grow tired of a band’s hyper-fixation on all things anti-religion, I can’t help but muster a grudging respect for Glen and Deicide’s dogmatic dedication to virulent atheism. Glen’s been barking at us for years now about the hypocrisy of the faithful, and he and his bandmates maintain that once again on Banished by Sin.
Unsurprisingly, Banished by Sin sounds a lot like most latter-day Deicide albums: chugging riffs that usually find a solid groove, noticeably deeper, nearly incomprehensible growls punctuated by high-pitched shrieks, and an abundance of blackened blasts n’ tremolos, capped off by a clean, more modern production. And generally, this approach serves them well. “From Unknown Heights you Shall Fall” and “Doomed to Die” are a quick one-two punch in the gut to kick things off, delivering the band’s chosen brand of simple, short, high-intensity death metal. “Doomed to Die” deserves a special mention because it also includes a section that sounds remarkably similar to “Sacrificial Suicide” from Deicide’s self-titled debut. But fair play: if you’ve been treading the infernal boards as long as these gents, you’re allowed to ape a cut from your own 34-year-old album. “Sever the Tongue” introduces a bit of interesting dissonance, and the riffing on “Faithless” sounds more like a Repentless-era Slayer cut without feeling out of place.
As the album chugs (and trems) on, there are a few tunes that tend to get lost in the shuffle. While “Bury the Cross…With Your Christ” is a definite mid-album highlight, the two intervening tracks leave a little to be desired, similar as they are in both speed and intensity. Fortunately, the titular “Banished by Sin” introduces a welcome change of pace, with frenetic double bass and a shotgun-blasting riff. Similarly, album closer “The Light Defeated” tones down the constant tremolos and pumps the breaks just enough to keep introduce some new dynamics and keep the riffing interesting. I have to give a brief mention here to new guitarist Taylor Nordberg (Inhuman Condition, Ribspreader, ex-Massacre), a talented player who nevertheless seems to have never met a whammy bar he didn’t wish to wed. The sheer amount of screaming, paint chip-peeling solos that feature multiple times on each track quickly go from fun to repetitious, making Banished by Sin and some of its lesser tunes a bit more difficult to enjoy.
Decide’s latest album is stronger than either 2011’s To Hell With God or 2013’s In the Minds of Evil, but doesn’t rise to the level of 2018’s Overtures of Blasphemy. So where does that leave us? With a generally enjoyable but overall mixed release with some of the same nagging issues that have plagued most modern-day Deicide platters. Be that as it may, it’s still good to know that Glen and his merry, demonic men are still out there. Even if the final results aren’t all to my liking, they remain dedicated to their unholy mission, angrily blaspheming with vim and vigor. To paraphrase one Sam Elliot: I don’t know about you, but I take comfort in that. Deicide. takin’ ‘er easy for all us sinners.
Rating: 2.5/3.0
#2024 #30 #AmericanMetal #Apr24 #BanishedBySin #DeathMetal #Deicide #InhumanCondition #OverturesOfBlasphemy #Review #Reviews
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Deicide – Banished by Sin Review
By Steel Druhm
The men of Glen are back! Long-running Barons of Floridian death metal, Deicide return for their lucky number 13 full-length. With a legacy of brutality running back to 1990, Deicide and controversial founder Glen Benton were instrumental in defining the sound of American death metal. Albums like Legion and The Stench of Redemption loom large in the Pantheon of Death, and though they’ve had a spotty track record over the years, a new Deicide platter will always earn attention from yours Steely. 2018’s Overtures of Blasphemy was a surprisingly vicious album and a significant step up from the records preceding it. It suggested a renewed fire and passion and made me hope the good days were not entirely behind Deicide. It’s with those high hopes that I greeted Banished by Sin. With Taylor Nordberg (Inhuman Condition, Ribspreader, ex-Massacre, ex-Wombbath) joining the fray to help out on guitar and vocals,1 there seemed plenty of reasons to be positive about what Banished by Sin would spew upon the masses. The Devil’s in the details though.
Right off the bat, the sound on Banished by Sin is oddly polished and clean, which goes against expectations for a damp Floridian death product. It almost sounds like an Iced Earth album with the guitars ringing so clear, which is odd considering this is undeniably old school death. Opener “From Unknown Heights You Shall Fall” is basic Deicide fare in most respects. It swerves from mid-tempo chugs to thrashing freakouts, with Benton’s signature vomitous snarls poured thickly over the top like tarpoo gravy. It’s a good song and the fluid, melodic solos are quite impressive. “Doomed to Die” channels a portion of the chaos magic that graced their Legion opus, with an effective blend of straightforward riffy blasting and well-timed melodic breaks. It’s good caveman fun and heavy enough to leave an ugly bruise despite the overly clean sound.
The warm-up sets out of the way, Banished blazes through 10 more tales of grand Satanism, with thrashy energy married to brutish grooves. Starting with “Sever the Tongue” the album hits its stride. “Sever” is a high point with a manic riff attack and vocals that sound like a discount exorcism going very wrong, at times crossing into Cradle of Filth territories. “Faithless” delivers in much the same way, with the classic Deicide sound running amok even as it flirts with melodeath in subtle ways before stomping your fat face into the gutter. “Woke from God” introduces a more epic sound to the Deicide canon, blackened and ugly but more grandiose and sweeping. “Bury the Cross…with Your Christ” sounds suspiciously like the recent output from Inhuman Condition, with a rudimentary caveman groove running train on your unlubed ears. It’s fun but borders on death parody. Sadly, some songs on the back half don’t hit with the same blunt force. The title track is just okay, and “I Am I…a Curse of Death” is pretty stock. At a tight 39 minutes with no song reaching the 4-minute mark, things blast by in an angry blur. The production is a thorn in the album’s side. It’s too polished and clean for what the band does and this reduces the material’s impact. This is a strange unforced error from such an experienced band.
Glen’s vocals sound more grisly and savage than on some recent releases. His guttural rasps can get tedious faster than other growlers, but the way he’s double-tracked with blackened screams helps provide diversity and Taylor Nordberg spots him with some backing vocals. Kevin Quirion and T. Nordberg deliver a charming assortment of thrashy riffs, sharp trems, and chuggy grooves to power the material forward, and the solo work dotting the album is dynamic and almost neo-classical at times (“The Light Defeated’ especially”). The solos are so melodic at times that they feel at odds with the surrounding music, but this provides an interesting counterpoint and a respite from the skull stomping.
Deicide aren’t able to recapture the late-career glory they bottled on Overtures of Blasphemy, and some tracks almost feel like a knowing send-up of death metal, but the overall package is entertaining despite a flawed production. There’s still unholy rage beating in the hearts of Glen and Co. and Banished by Sin is a fun, easy-to-digest serving of anti-religion bile. I suggest you leave a little room for Satan.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: https://deicideofficial.com | facebook.com/officialdeicide | instagram.com/deicideofficial
Releases Worldwide: April 26th, 2024Felagund
And just like that, we’re blessed with another Deicide album. “Blessed” is probably the wrong verb to use in this situation, but the fact remains that this year marks the first new Deicide record in six years. 2018’s Overtures of Blasphemy received high praise from our very own GardensTale, earning a coveted score of 3.5 and breaking an AMG tradition of offering middling to downright disappointing scores for ‘ol Glen and the boys. But say what you will about the quality of their more recent output, Deicide are still genre stalwarts; a foundational band in the development of the early Florida death metal sound who are still capable of churning out the sacrilegious goods. Which brings us to Banished by Sin, the band’s 13th studio album since their self-titled debut in 1990. That’s 34 years and a lot of history to be compared against, but compare we must, good sense and propriety be damned.
Just keep in mind, friends: Glen’s gonna Glen, and that holds just as true on Banished by Sin as it ever has. Regardless of lineup changes, the evolution of the death metal genre, and his own development as a musician, Glen Benton remains an ardent enemy of the divine, and he’s maintained that anger and disgust for over three decades. While it’s easy to grow tired of a band’s hyper-fixation on all things anti-religion, I can’t help but muster a grudging respect for Glen and Deicide’s dogmatic dedication to virulent atheism. Glen’s been barking at us for years now about the hypocrisy of the faithful, and he and his bandmates maintain that once again on Banished by Sin.
Unsurprisingly, Banished by Sin sounds a lot like most latter-day Deicide albums: chugging riffs that usually find a solid groove, noticeably deeper, nearly incomprehensible growls punctuated by high-pitched shrieks, and an abundance of blackened blasts n’ tremolos, capped off by a clean, more modern production. And generally, this approach serves them well. “From Unknown Heights you Shall Fall” and “Doomed to Die” are a quick one-two punch in the gut to kick things off, delivering the band’s chosen brand of simple, short, high-intensity death metal. “Doomed to Die” deserves a special mention because it also includes a section that sounds remarkably similar to “Sacrificial Suicide” from Deicide’s self-titled debut. But fair play: if you’ve been treading the infernal boards as long as these gents, you’re allowed to ape a cut from your own 34-year-old album. “Sever the Tongue” introduces a bit of interesting dissonance, and the riffing on “Faithless” sounds more like a Repentless-era Slayer cut without feeling out of place.
As the album chugs (and trems) on, there are a few tunes that tend to get lost in the shuffle. While “Bury the Cross…With Your Christ” is a definite mid-album highlight, the two intervening tracks leave a little to be desired, similar as they are in both speed and intensity. Fortunately, the titular “Banished by Sin” introduces a welcome change of pace, with frenetic double bass and a shotgun-blasting riff. Similarly, album closer “The Light Defeated” tones down the constant tremolos and pumps the breaks just enough to keep introduce some new dynamics and keep the riffing interesting. I have to give a brief mention here to new guitarist Taylor Nordberg (Inhuman Condition, Ribspreader, ex-Massacre), a talented player who nevertheless seems to have never met a whammy bar he didn’t wish to wed. The sheer amount of screaming, paint chip-peeling solos that feature multiple times on each track quickly go from fun to repetitious, making Banished by Sin and some of its lesser tunes a bit more difficult to enjoy.
Decide’s latest album is stronger than either 2011’s To Hell With God or 2013’s In the Minds of Evil, but doesn’t rise to the level of 2018’s Overtures of Blasphemy. So where does that leave us? With a generally enjoyable but overall mixed release with some of the same nagging issues that have plagued most modern-day Deicide platters. Be that as it may, it’s still good to know that Glen and his merry, demonic men are still out there. Even if the final results aren’t all to my liking, they remain dedicated to their unholy mission, angrily blaspheming with vim and vigor. To paraphrase one Sam Elliot: I don’t know about you, but I take comfort in that. Deicide. takin’ ‘er easy for all us sinners.
Rating: 2.5/3.0
#2024 #30 #AmericanMetal #Apr24 #BanishedBySin #DeathMetal #Deicide #InhumanCondition #OverturesOfBlasphemy #Review #Reviews
-
Deicide – Banished by Sin Review
By Steel Druhm
The men of Glen are back! Long-running Barons of Floridian death metal, Deicide return for their lucky number 13 full-length. With a legacy of brutality running back to 1990, Deicide and controversial founder Glen Benton were instrumental in defining the sound of American death metal. Albums like Legion and The Stench of Redemption loom large in the Pantheon of Death, and though they’ve had a spotty track record over the years, a new Deicide platter will always earn attention from yours Steely. 2018’s Overtures of Blasphemy was a surprisingly vicious album and a significant step up from the records preceding it. It suggested a renewed fire and passion and made me hope the good days were not entirely behind Deicide. It’s with those high hopes that I greeted Banished by Sin. With Taylor Nordberg (Inhuman Condition, Ribspreader, ex-Massacre, ex-Wombbath) joining the fray to help out on guitar and vocals,1 there seemed plenty of reasons to be positive about what Banished by Sin would spew upon the masses. The Devil’s in the details though.
Right off the bat, the sound on Banished by Sin is oddly polished and clean, which goes against expectations for a damp Floridian death product. It almost sounds like an Iced Earth album with the guitars ringing so clear, which is odd considering this is undeniably old school death. Opener “From Unknown Heights You Shall Fall” is basic Deicide fare in most respects. It swerves from mid-tempo chugs to thrashing freakouts, with Benton’s signature vomitous snarls poured thickly over the top like tarpoo gravy. It’s a good song and the fluid, melodic solos are quite impressive. “Doomed to Die” channels a portion of the chaos magic that graced their Legion opus, with an effective blend of straightforward riffy blasting and well-timed melodic breaks. It’s good caveman fun and heavy enough to leave an ugly bruise despite the overly clean sound.
The warm-up sets out of the way, Banished blazes through 10 more tales of grand Satanism, with thrashy energy married to brutish grooves. Starting with “Sever the Tongue” the album hits its stride. “Sever” is a high point with a manic riff attack and vocals that sound like a discount exorcism going very wrong, at times crossing into Cradle of Filth territories. “Faithless” delivers in much the same way, with the classic Deicide sound running amok even as it flirts with melodeath in subtle ways before stomping your fat face into the gutter. “Woke from God” introduces a more epic sound to the Deicide canon, blackened and ugly but more grandiose and sweeping. “Bury the Cross…with Your Christ” sounds suspiciously like the recent output from Inhuman Condition, with a rudimentary caveman groove running train on your unlubed ears. It’s fun but borders on death parody. Sadly, some songs on the back half don’t hit with the same blunt force. The title track is just okay, and “I Am I…a Curse of Death” is pretty stock. At a tight 39 minutes with no song reaching the 4-minute mark, things blast by in an angry blur. The production is a thorn in the album’s side. It’s too polished and clean for what the band does and this reduces the material’s impact. This is a strange unforced error from such an experienced band.
Glen’s vocals sound more grisly and savage than on some recent releases. His guttural rasps can get tedious faster than other growlers, but the way he’s double-tracked with blackened screams helps provide diversity and Taylor Nordberg spots him with some backing vocals. Kevin Quirion and T. Nordberg deliver a charming assortment of thrashy riffs, sharp trems, and chuggy grooves to power the material forward, and the solo work dotting the album is dynamic and almost neo-classical at times (“The Light Defeated’ especially”). The solos are so melodic at times that they feel at odds with the surrounding music, but this provides an interesting counterpoint and a respite from the skull stomping.
Deicide aren’t able to recapture the late-career glory they bottled on Overtures of Blasphemy, and some tracks almost feel like a knowing send-up of death metal, but the overall package is entertaining despite a flawed production. There’s still unholy rage beating in the hearts of Glen and Co. and Banished by Sin is a fun, easy-to-digest serving of anti-religion bile. I suggest you leave a little room for Satan.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: https://deicideofficial.com | facebook.com/officialdeicide | instagram.com/deicideofficial
Releases Worldwide: April 26th, 2024Felagund
And just like that, we’re blessed with another Deicide album. “Blessed” is probably the wrong verb to use in this situation, but the fact remains that this year marks the first new Deicide record in six years. 2018’s Overtures of Blasphemy received high praise from our very own GardensTale, earning a coveted score of 3.5 and breaking an AMG tradition of offering middling to downright disappointing scores for ‘ol Glen and the boys. But say what you will about the quality of their more recent output, Deicide are still genre stalwarts; a foundational band in the development of the early Florida death metal sound who are still capable of churning out the sacrilegious goods. Which brings us to Banished by Sin, the band’s 13th studio album since their self-titled debut in 1990. That’s 34 years and a lot of history to be compared against, but compare we must, good sense and propriety be damned.
Just keep in mind, friends: Glen’s gonna Glen, and that holds just as true on Banished by Sin as it ever has. Regardless of lineup changes, the evolution of the death metal genre, and his own development as a musician, Glen Benton remains an ardent enemy of the divine, and he’s maintained that anger and disgust for over three decades. While it’s easy to grow tired of a band’s hyper-fixation on all things anti-religion, I can’t help but muster a grudging respect for Glen and Deicide’s dogmatic dedication to virulent atheism. Glen’s been barking at us for years now about the hypocrisy of the faithful, and he and his bandmates maintain that once again on Banished by Sin.
Unsurprisingly, Banished by Sin sounds a lot like most latter-day Deicide albums: chugging riffs that usually find a solid groove, noticeably deeper, nearly incomprehensible growls punctuated by high-pitched shrieks, and an abundance of blackened blasts n’ tremolos, capped off by a clean, more modern production. And generally, this approach serves them well. “From Unknown Heights you Shall Fall” and “Doomed to Die” are a quick one-two punch in the gut to kick things off, delivering the band’s chosen brand of simple, short, high-intensity death metal. “Doomed to Die” deserves a special mention because it also includes a section that sounds remarkably similar to “Sacrificial Suicide” from Deicide’s self-titled debut. But fair play: if you’ve been treading the infernal boards as long as these gents, you’re allowed to ape a cut from your own 34-year-old album. “Sever the Tongue” introduces a bit of interesting dissonance, and the riffing on “Faithless” sounds more like a Repentless-era Slayer cut without feeling out of place.
As the album chugs (and trems) on, there are a few tunes that tend to get lost in the shuffle. While “Bury the Cross…With Your Christ” is a definite mid-album highlight, the two intervening tracks leave a little to be desired, similar as they are in both speed and intensity. Fortunately, the titular “Banished by Sin” introduces a welcome change of pace, with frenetic double bass and a shotgun-blasting riff. Similarly, album closer “The Light Defeated” tones down the constant tremolos and pumps the breaks just enough to keep introduce some new dynamics and keep the riffing interesting. I have to give a brief mention here to new guitarist Taylor Nordberg (Inhuman Condition, Ribspreader, ex-Massacre), a talented player who nevertheless seems to have never met a whammy bar he didn’t wish to wed. The sheer amount of screaming, paint chip-peeling solos that feature multiple times on each track quickly go from fun to repetitious, making Banished by Sin and some of its lesser tunes a bit more difficult to enjoy.
Decide’s latest album is stronger than either 2011’s To Hell With God or 2013’s In the Minds of Evil, but doesn’t rise to the level of 2018’s Overtures of Blasphemy. So where does that leave us? With a generally enjoyable but overall mixed release with some of the same nagging issues that have plagued most modern-day Deicide platters. Be that as it may, it’s still good to know that Glen and his merry, demonic men are still out there. Even if the final results aren’t all to my liking, they remain dedicated to their unholy mission, angrily blaspheming with vim and vigor. To paraphrase one Sam Elliot: I don’t know about you, but I take comfort in that. Deicide. takin’ ‘er easy for all us sinners.
Rating: 2.5/3.0
#2024 #30 #AmericanMetal #Apr24 #BanishedBySin #DeathMetal #Deicide #InhumanCondition #OverturesOfBlasphemy #Review #Reviews
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The Absence – The Absence Review
By Saunders
Florida’s The Absence have carved out a tidy career of dependable material across two separate career arcs since forming way back in 2002. Their first few albums were thrashy, slightly blackened melodeath bangers with killer riffs, striking melodies and catchy hooks in tow. Hardly groundbreaking stuff but solidly entertaining, nonetheless. Following an eight-year recording hiatus, The Absence kicked back into gear in 2018 and now we arrive at the third album of their recharged second era, and sixth overall, following on from 2021’s reliably solid Coffinized release. On this occasion, the veteran act decided to go the self-titled route, which often translates to a stylistic reinvention, or assertive back-to-basics approach. Reinvention is not on the cards with The Absence falling more so into the latter camp, crafting a taut, energetic collection of trademark thrash-infused melodic death tuneage. Taking cues from the classic Gothenburg scene, especially At the Gates, and merging with US-styled blackened thrash, The Absence unleash a slickly played and bouncy style, with enough sharpness and bite to provide a steelier edge.
Veterans in the game, The Absence possess a tight and playful sound, accentuating tasteful melodeath licks, punchy riffs, and groovy, headbanging swagger. Nastier, blackened throes and spiteful edge of early albums From Your Grave and Riders of the Plague have been buffed and smoothed over in later years. The accessible, streamlined approach on The Absence retains many of the band’s signature traits and foundations, albeit in a less urgent, edgier manner compared to their earlier work. Regardless, The Absence excel in ripping through workman-like melodeath tunes without resorting to gimmicks or compromising integrity with tacked-on elements to boost accessibility. The more streamlined material still packs a feisty punch, and the riffs are consistently solid, backed by ear-catching melodic leads and technical flourishes. Original member Jamie Stewart’s blackened growls feature a more weathered charm, while the crisp though stripped-back production lends the songs a grittier, no-frills edge. Right out the gate, The Absence rip out a trademark thrasher courtesy of lively opener “Communion Carbonized,” launching the album into gear.
“The Silent Eye” fits the bill well as a single and is a tidy way to attract newer listeners. Across nearly six minutes, The Absence mix some beguiling central melodies and vocal hooks with thrashier surges and earworm hooks. There are similarly strong cuts scattered across the album, such as the progressively leaning “Planetary Mortuary,” straight ahead riff rager “Grieving Winds,” and lean, mean thrasher, “Fleshwalker.” The Absence rarely hit peak form, but never really drop the ball either. Closer “Breeding Hysterics” ensures shit ends with a bang rather than whimper, its chunky riffs, feisty thrust and retro feel lend it a cool, old-school charm. Outside the highlights, the majority of songs leave solid, if sometimes unremarkable impression, while a couple of songs come across a bit by the numbers. Quibbles aside, The Absence is a largely enjoyable listen that continues the band’s lasting consistency. Guitarist Taylor Nordberg (also handling bass and keys) has been around the traps a long time and livens the material with spicy axework, an array of headbangable riffs, throwback old school leads and embellishments. The technical and mildly progressive elements help main interest. Meanwhile, experienced drummer Jeramie Kling (Inhuman Condition, Ex Deo) keeps pace with an aggressive, precision performance on the kit.
As previously mentioned, the production hits the spot. The clean, sharp tones offset by an uncluttered mix, dynamic master and organic, gritty tones, especially the drums. Overall, The Absence is a tidy entry into the band’s underappreciated catalog, despite feeling a little safe and less urgent than prior offerings. In particular, the frantic, blackened approach of their first few albums are missed, and the songs don’t hit quite as hard as previous album Coffinized. Regardless, The Absence is an endearing act that pump out consistently solid, thrash-infused melodeath tunes that are easy to like. The Absence may not be the most compelling selling point or entry in this veteran Floridian band’s lengthy career, however, it’s a solid batch of fun and no-frills melodeath tunes.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Listenable Insanity
Websites: theabsenceofficial.bandcamp.com | facebook.com/theabsenceofficial
Releases Worldwide: March 29th, 2024#2024 #30 #AmericanMetal #AtTheGates #BlackenedThrash #ExDeo #InhumanCondition #ListenableInsanityRecords #MelodicDeathMetal #Review #Reviews #TheAbsence #Thrash
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The Absence – The Absence Review
By Saunders
Florida’s The Absence have carved out a tidy career of dependable material across two separate career arcs since forming way back in 2002. Their first few albums were thrashy, slightly blackened melodeath bangers with killer riffs, striking melodies and catchy hooks in tow. Hardly groundbreaking stuff but solidly entertaining, nonetheless. Following an eight-year recording hiatus, The Absence kicked back into gear in 2018 and now we arrive at the third album of their recharged second era, and sixth overall, following on from 2021’s reliably solid Coffinized release. On this occasion, the veteran act decided to go the self-titled route, which often translates to a stylistic reinvention, or assertive back-to-basics approach. Reinvention is not on the cards with The Absence falling more so into the latter camp, crafting a taut, energetic collection of trademark thrash-infused melodic death tuneage. Taking cues from the classic Gothenburg scene, especially At the Gates, and merging with US-styled blackened thrash, The Absence unleash a slickly played and bouncy style, with enough sharpness and bite to provide a steelier edge.
Veterans in the game, The Absence possess a tight and playful sound, accentuating tasteful melodeath licks, punchy riffs, and groovy, headbanging swagger. Nastier, blackened throes and spiteful edge of early albums From Your Grave and Riders of the Plague have been buffed and smoothed over in later years. The accessible, streamlined approach on The Absence retains many of the band’s signature traits and foundations, albeit in a less urgent, edgier manner compared to their earlier work. Regardless, The Absence excel in ripping through workman-like melodeath tunes without resorting to gimmicks or compromising integrity with tacked-on elements to boost accessibility. The more streamlined material still packs a feisty punch, and the riffs are consistently solid, backed by ear-catching melodic leads and technical flourishes. Original member Jamie Stewart’s blackened growls feature a more weathered charm, while the crisp though stripped-back production lends the songs a grittier, no-frills edge. Right out the gate, The Absence rip out a trademark thrasher courtesy of lively opener “Communion Carbonized,” launching the album into gear.
“The Silent Eye” fits the bill well as a single and is a tidy way to attract newer listeners. Across nearly six minutes, The Absence mix some beguiling central melodies and vocal hooks with thrashier surges and earworm hooks. There are similarly strong cuts scattered across the album, such as the progressively leaning “Planetary Mortuary,” straight ahead riff rager “Grieving Winds,” and lean, mean thrasher, “Fleshwalker.” The Absence rarely hit peak form, but never really drop the ball either. Closer “Breeding Hysterics” ensures shit ends with a bang rather than whimper, its chunky riffs, feisty thrust and retro feel lend it a cool, old-school charm. Outside the highlights, the majority of songs leave solid, if sometimes unremarkable impression, while a couple of songs come across a bit by the numbers. Quibbles aside, The Absence is a largely enjoyable listen that continues the band’s lasting consistency. Guitarist Taylor Nordberg (also handling bass and keys) has been around the traps a long time and livens the material with spicy axework, an array of headbangable riffs, throwback old school leads and embellishments. The technical and mildly progressive elements help main interest. Meanwhile, experienced drummer Jeramie Kling (Inhuman Condition, Ex Deo) keeps pace with an aggressive, precision performance on the kit.
As previously mentioned, the production hits the spot. The clean, sharp tones offset by an uncluttered mix, dynamic master and organic, gritty tones, especially the drums. Overall, The Absence is a tidy entry into the band’s underappreciated catalog, despite feeling a little safe and less urgent than prior offerings. In particular, the frantic, blackened approach of their first few albums are missed, and the songs don’t hit quite as hard as previous album Coffinized. Regardless, The Absence is an endearing act that pump out consistently solid, thrash-infused melodeath tunes that are easy to like. The Absence may not be the most compelling selling point or entry in this veteran Floridian band’s lengthy career, however, it’s a solid batch of fun and no-frills melodeath tunes.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Listenable Insanity
Websites: theabsenceofficial.bandcamp.com | facebook.com/theabsenceofficial
Releases Worldwide: March 29th, 2024#2024 #30 #AmericanMetal #AtTheGates #BlackenedThrash #ExDeo #InhumanCondition #ListenableInsanityRecords #MelodicDeathMetal #Review #Reviews #TheAbsence #Thrash
-
The Absence – The Absence Review
By Saunders
Florida’s The Absence have carved out a tidy career of dependable material across two separate career arcs since forming way back in 2002. Their first few albums were thrashy, slightly blackened melodeath bangers with killer riffs, striking melodies and catchy hooks in tow. Hardly groundbreaking stuff but solidly entertaining, nonetheless. Following an eight-year recording hiatus, The Absence kicked back into gear in 2018 and now we arrive at the third album of their recharged second era, and sixth overall, following on from 2021’s reliably solid Coffinized release. On this occasion, the veteran act decided to go the self-titled route, which often translates to a stylistic reinvention, or assertive back-to-basics approach. Reinvention is not on the cards with The Absence falling more so into the latter camp, crafting a taut, energetic collection of trademark thrash-infused melodic death tuneage. Taking cues from the classic Gothenburg scene, especially At the Gates, and merging with US-styled blackened thrash, The Absence unleash a slickly played and bouncy style, with enough sharpness and bite to provide a steelier edge.
Veterans in the game, The Absence possess a tight and playful sound, accentuating tasteful melodeath licks, punchy riffs, and groovy, headbanging swagger. Nastier, blackened throes and spiteful edge of early albums From Your Grave and Riders of the Plague have been buffed and smoothed over in later years. The accessible, streamlined approach on The Absence retains many of the band’s signature traits and foundations, albeit in a less urgent, edgier manner compared to their earlier work. Regardless, The Absence excel in ripping through workman-like melodeath tunes without resorting to gimmicks or compromising integrity with tacked-on elements to boost accessibility. The more streamlined material still packs a feisty punch, and the riffs are consistently solid, backed by ear-catching melodic leads and technical flourishes. Original member Jamie Stewart’s blackened growls feature a more weathered charm, while the crisp though stripped-back production lends the songs a grittier, no-frills edge. Right out the gate, The Absence rip out a trademark thrasher courtesy of lively opener “Communion Carbonized,” launching the album into gear.
“The Silent Eye” fits the bill well as a single and is a tidy way to attract newer listeners. Across nearly six minutes, The Absence mix some beguiling central melodies and vocal hooks with thrashier surges and earworm hooks. There are similarly strong cuts scattered across the album, such as the progressively leaning “Planetary Mortuary,” straight ahead riff rager “Grieving Winds,” and lean, mean thrasher, “Fleshwalker.” The Absence rarely hit peak form, but never really drop the ball either. Closer “Breeding Hysterics” ensures shit ends with a bang rather than whimper, its chunky riffs, feisty thrust and retro feel lend it a cool, old-school charm. Outside the highlights, the majority of songs leave solid, if sometimes unremarkable impression, while a couple of songs come across a bit by the numbers. Quibbles aside, The Absence is a largely enjoyable listen that continues the band’s lasting consistency. Guitarist Taylor Nordberg (also handling bass and keys) has been around the traps a long time and livens the material with spicy axework, an array of headbangable riffs, throwback old school leads and embellishments. The technical and mildly progressive elements help main interest. Meanwhile, experienced drummer Jeramie Kling (Inhuman Condition, Ex Deo) keeps pace with an aggressive, precision performance on the kit.
As previously mentioned, the production hits the spot. The clean, sharp tones offset by an uncluttered mix, dynamic master and organic, gritty tones, especially the drums. Overall, The Absence is a tidy entry into the band’s underappreciated catalog, despite feeling a little safe and less urgent than prior offerings. In particular, the frantic, blackened approach of their first few albums are missed, and the songs don’t hit quite as hard as previous album Coffinized. Regardless, The Absence is an endearing act that pump out consistently solid, thrash-infused melodeath tunes that are easy to like. The Absence may not be the most compelling selling point or entry in this veteran Floridian band’s lengthy career, however, it’s a solid batch of fun and no-frills melodeath tunes.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Listenable Insanity
Websites: theabsenceofficial.bandcamp.com | facebook.com/theabsenceofficial
Releases Worldwide: March 29th, 2024#2024 #30 #AmericanMetal #AtTheGates #BlackenedThrash #ExDeo #InhumanCondition #ListenableInsanityRecords #MelodicDeathMetal #Review #Reviews #TheAbsence #Thrash
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Check out my write-up on Vader's 40th anniversary tour in #Chicago last week, with photos and videos from the show that also featured Origin and Inhuman Condition:
#Vader #Origin #InhumanCondition #metal #deathmetal #metalmusic #metalshow #concert #concertphotography #photography #timbowmanmedia
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Check out my write-up on Vader's 40th anniversary tour in #Chicago last week, with photos and videos from the show that also featured Origin and Inhuman Condition:
#Vader #Origin #InhumanCondition #metal #deathmetal #metalmusic #metalshow #concert #concertphotography #photography #timbowmanmedia
-
Check out my write-up on Vader's 40th anniversary tour in #Chicago last week, with photos and videos from the show that also featured Origin and Inhuman Condition:
#Vader #Origin #InhumanCondition #metal #deathmetal #metalmusic #metalshow #concert #concertphotography #photography #timbowmanmedia
-
Check out my write-up on Vader's 40th anniversary tour in #Chicago last week, with photos and videos from the show that also featured Origin and Inhuman Condition:
#Vader #Origin #InhumanCondition #metal #deathmetal #metalmusic #metalshow #concert #concertphotography #photography #timbowmanmedia
-
Check out my write-up on Vader's 40th anniversary tour in #Chicago last week, with photos and videos from the show that also featured Origin and Inhuman Condition:
#Vader #Origin #InhumanCondition #metal #deathmetal #metalmusic #metalshow #concert #concertphotography #photography #timbowmanmedia
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Inhuman Condition came through #Chicago supporting Vader on their 40th anniversary tour. Check out the band playing some great Florida-style death metal.
More videos from the other bands from the show are available on my YouTube.
https://www.youtube.com/watch?v=cAaddx1UylM
#InhumanCondition #PanicPrayer #RatGod #metal #deathmetal #metalmusic #metalconcert #timbowmanmedia
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Inhuman Condition came through #Chicago supporting Vader on their 40th anniversary tour. Check out the band playing some great Florida-style death metal.
More videos from the other bands from the show are available on my YouTube.
https://www.youtube.com/watch?v=cAaddx1UylM
#InhumanCondition #PanicPrayer #RatGod #metal #deathmetal #metalmusic #metalconcert #timbowmanmedia
-
Inhuman Condition came through #Chicago supporting Vader on their 40th anniversary tour. Check out the band playing some great Florida-style death metal.
More videos from the other bands from the show are available on my YouTube.
https://www.youtube.com/watch?v=cAaddx1UylM
#InhumanCondition #PanicPrayer #RatGod #metal #deathmetal #metalmusic #metalconcert #timbowmanmedia
-
Inhuman Condition came through #Chicago supporting Vader on their 40th anniversary tour. Check out the band playing some great Florida-style death metal.
More videos from the other bands from the show are available on my YouTube.
https://www.youtube.com/watch?v=cAaddx1UylM
#InhumanCondition #PanicPrayer #RatGod #metal #deathmetal #metalmusic #metalconcert #timbowmanmedia
-
Inhuman Condition came through #Chicago supporting Vader on their 40th anniversary tour. Check out the band playing some great Florida-style death metal.
More videos from the other bands from the show are available on my YouTube.
https://www.youtube.com/watch?v=cAaddx1UylM
#InhumanCondition #PanicPrayer #RatGod #metal #deathmetal #metalmusic #metalconcert #timbowmanmedia
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Vader Celebrate 40th Anniversary with Epic North American Tour w/ Origin & Inhuman Condition:
#Vader #Vader40thAnniversary #MetalTour #Origin #InhumanCondition #LiveMetal #MetalConcert #NorthAmericanTour
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#MetalInjection
EP Review: INHUMAN CONDITION Panic Prayer
"The hateful, menacing, and sickening Panic Prayer is sure to please lovers of old-school death-thrash."https://metalinjection.net/reviews/ep-review-inhuman-condition-panic-prayer
#InhumanCondition
#PanicPrayer
#MetalAlbum
#SludgePunk
#EPReview
#SwedishMetal
#HeavyLyrics -
#TheMetalDogArticleList
#MetalInjection
EP Review: INHUMAN CONDITION Panic Prayer
"The hateful, menacing, and sickening Panic Prayer is sure to please lovers of old-school death-thrash."https://metalinjection.net/reviews/ep-review-inhuman-condition-panic-prayer
#InhumanCondition
#PanicPrayer
#MetalAlbum
#SludgePunk
#EPReview
#SwedishMetal
#HeavyLyrics
