#nunslaughter — Public Fediverse posts

NUNSLAUGHTER (Estats Units) presenta nou single: "Undead Melody" #Nunslaughter #DeathMetal #Juliol2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

NUNSLAUGHTER (Estats Units) presenta nou single: "Undead Melody" #Nunslaughter #DeathMetal #Juliol2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

40 years, 34 past and present members, over 230 releases credited in the archives, and one migration from Pennsylvania—this is the rap sheet for Cleveland, Ohio’s Nunslaughter, who have been jousting Jesus since 1987. Some 5 years1 further down the left-hand path from 2021’s Red Is the Color of Ripping Death, which our own El Cuervo described as “an enjoyable experience that’s frayed around the edges,” Nunslaughter return in fine form to bless the black masses and kick Christian asses with sixth long-player, and BLKIIBLK Records debut, Satanic Chaos Legions. Such prolific proselytization on Satan’s behalf requires a certain type of longevity and focus, of which the sole remaining founder and vocalist, Don of the Dead, seems to have in droves, as Nunslaughter returns two-thirds of their Ripping Death lineup (intact since 2016) but for bassist Detonate, who was replaced by Malum in 2022. My only question: is this the Nunslaughter worth bringing your daughter to?

Nunslaughter play attention-deficit death metal—Satanic Chaos Legions’ 14-track, 34-minute runtime replicating the Ripping Death blueprint to a tee. Tormentor’s riffs, of which there are legion, buzz just short of HM2 worship, but crackle with a thrashy electricity that slices through flesh with surgical, tremolodic speed (“Unsacrament”), chugs along with Deicide-ic groove (“Cathedral of Stench”), and pummels doomily like hell’s hammer (“Heavenless”), all evidence of a practitioner in full control of his dark art. Don of the Dead’s vocals are as viscerally vehement as ever—I love this dude’s voice—his death growls and howls amping up the evil with distinct lyrical clarity. And while Nunslaughter’s base devil metal approach hasn’t really changed over the past two score years, Satanic Chaos Legions stands as a high point in the discography, triumphantly marrying their knack for writing uniquely catchy bite-sized brutality with a newfound talent for pacing, producing an album perfectly assembled for maximum damage.

If the boots-marching intro to the opening title track serves as the warning of Nunslaughter’s coming, then it’s track two that has them kicking in your fucking door. A visceral indictment of Catholicism and priestly pedophilia, “Jesus Fucking Dies” is a vicious, 1:20 speed fest that will leave you more breathless than a polar plunge. Moments like these have always worked in Nunslaughter’s favor, their bread and black butter, and with an average track length of 2:30, Legions suffers no dearth of these minute malignancies (“Listen To the Lies,” “Infernal Reign”). And while I enjoy the raw energy and brevity, I find myself more drawn to Nunslaughter’s slower, slightly drawn-out side. Lumbering, sludgy bass lines and some distorted spoken words welcome us to the inverted communion of the apex track, “Peukharist,” which further probes “Casket Lid Creaks” territory. Slow and dripping with heavy, sustained death chords, the track features some of Don Of the Dead’s most vile, hateful spitting, and with the clever sans-cringe song title, grabs my top spot as album highlight. In this, Satanic Chaos Legions eludes the curse of swirling similitude that could have easily cast a pall over the proceedings of a non-stop speed penned by lesser songwriters.

Engineered, mastered, and mixed by Noah “Tormentor” Buchanan at his own Mercinary Studios in Cleveland, Satanic Chaos Legions benefits greatly from this backyard setup. A far cry from the early albums, Legions’ production surpasses that of its predecessor in terms of death metal heaviness, the slick mix highlighting all of Nunslaughter’s talent without sacrificing any of the raw edge the group’s become known for. Malum’s bass lines thrum, Wrath’s drums pulse with profane putridity, and all those god-forsaken riffs land like so many one-two punches to the solar plexus, making Satanic Chaos Legions one of, if not the, best-sounding Nunslaughter records in the discog. In nearly every respect, Satanic Chaos Legions improves upon the Ripping Death template, perhaps taking cues in some part from El Cuervo’s critique, and in so doing leaving me with little to fuss over. Aside perhaps from a couple of song titles that had me chucklingly eye-rolling (“Die Your Own Death,” “In the Flames of Inferno”), I had a blast with Nunslaughter this time out.

For a band that’s been around for as long as Nunslaughter has, I’m often surprised by how little notoriety they receive. Is it the moniker, the subject matter, the gob-stopping depth of the discography? I’m not sure, but I will say if you’re looking for an entry point into Nunslaughter’s canon, look no further than Satanic Chaos Legions, and for those pre-ordained fanatics, buckle up; you’re in for a fun ride.

Rating: 3.5/5.0
DR: NA | Format Reviewed: Fookin’ Stream
Label: BLKIIBLK Records
Websites: Facebook | Instagram

Wrote some news items regarding:

#WHITEROOMREVIEWS
- #Quodac
- #Nunslaughter
- #FearFactory #Hate #TheNocturalAffair

#BROTHERSINRAW
- #Belzebubs
- #Gradience

<3

Wrote some news items regarding:

#WHITEROOMREVIEWS
- #Quodac
- #Nunslaughter
- #FearFactory #Hate #TheNocturalAffair

#BROTHERSINRAW
- #Belzebubs
- #Gradience

<3

Wrote some news items regarding:

#WHITEROOMREVIEWS
- #Quodac
- #Nunslaughter
- #FearFactory #Hate #TheNocturalAffair

#BROTHERSINRAW
- #Belzebubs
- #Gradience

<3

Wrote some news items regarding:

#WHITEROOMREVIEWS
- #Quodac
- #Nunslaughter
- #FearFactory #Hate #TheNocturalAffair

#BROTHERSINRAW
- #Belzebubs
- #Gradience

<3

NUNSLAUGHTER (Estats Units) presenta nou àlbum: "Satanic Chaos Legions" #Nunslaughter #DeathMetal #Juny2026 #EstatsUnits #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/at/134970/ Die Videos der Woche vom 01.05. mit Europe, Six Feet Under u.v.m. #AT #Austria #Clips #Entertainment #Europe #Music #Musik #Nunslaughter #Österreich #SixFeetUnder #Unterhaltung #UweLulisProject #Videoclips #Videos

Keinen Bock auf Kirche, dafür umso mehr auf oldschooliges 80er-Death-Thrash-Geballer mit blasphemischen Texten? Die amerikanische Underground-Kultband NUNSLAUGHTER gibt sich demnächst die Ehre. #nunslaughter #deaththrash #deathmetal

https://www.burnyourears.de/news/54890-nunslaughter-video-rotten-messiah-kuendigt-album-und-europa-tour-an.html

Saturday at #MidEastClub is a death/black #metal show with #Nunslaughter, #Demiser, #Desolus
#BostonMusic #BostonMetal #CambridgeMA #BostonWeekend 8/x

Saturday at #MidEastClub is a death/black #metal show with #Nunslaughter, #Demiser, #Desolus
#BostonMusic #BostonMetal #CambridgeMA #BostonWeekend 8/x

Saturday at #MidEastClub is a death/black #metal show with #Nunslaughter, #Demiser, #Desolus
#BostonMusic #BostonMetal #CambridgeMA #BostonWeekend 8/x

Saturday at #MidEastClub is a death/black #metal show with #Nunslaughter, #Demiser, #Desolus
#BostonMusic #BostonMetal #CambridgeMA #BostonWeekend 8/x

Saturday at #MidEastClub is a death/black #metal show with #Nunslaughter, #Demiser, #Desolus
#BostonMusic #BostonMetal #CambridgeMA #BostonWeekend 8/x

Abysmal Winds – Magna Pestilencia Review

By Mark Z.

In the last few years, one of my favorite strains of death metal has been the “dark” variety. It’s not really a subgenre or even a wave, but more of a feeling that certain bands exude. I’m thinking specifically of groups like Cruciamentum, Mortem, Sadistic Intent, Grave Miasma, and other bands of their ilk. These are groups that offer a musty and ominous approach to death metal, groups whose atmosphere makes it feel like no matter how many times you listen to them, there is always something black and slimy lurking undiscovered in some hidden corner of the world they create. Thus, when I saw that Abysmal Winds describe themselves as “dark death metal” and count both Sadistic Intent and Grave Miasma among their influences, I couldn’t wait to check them out. Formed in 2020, this Swedish group brings experience from a whole host of obscure metal bands, with Avsky, Corpsehammer, and Omnizide probably being some of the bigger names. Following their 2022 demo Doom Prayer, the group are now releasing their debut album, Magna Pestilencia.

Listening to Magna Pestilencia, it’s obvious that Abysmal Winds have a particular affinity for Grave Miasma. Like that British group, these Swedes use a lot of groaning tremolos that writhe and hum beneath gruff growling vocals and steady driving rhythms. Things never get too aggressive, with the band instead focused on creating malevolent and cavernous compositions that still manage to have discernible riffs. In keeping with their origins, the group also have a distinct Swedish death metal flair, though that influence surprisingly comes from the drums rather than the guitars. Often, these songs are propelled by the same punky Swedeath beats used by Dismember, Entombed, and the millions of Swedeath bands that came after those two. They also throw in the occasional blast beat or slower moment, though things never get particularly fast or doomy.

The biggest problem with Magna Pestilencia is that it sticks very rigidly to its formula. Most of these songs simply cruise forward on mid-paced Swedeath beats, and the occasional blast beat or slower moment simply does not offer enough variety to make for a wholly engaging listen. By the album’s second half, I’m practically begging for some sort of crawling doom break, sinister melody, or big crunchy riff that will get my noggin moving. Interestingly, the intro song “Incantation” is actually the most distinct track here, with its basic cavernous melody at least offering something different. Perhaps because of the album’s rigid adherence to its formula, the record also never seems to feel as atmospheric or threatening as the band’s influences.

Fortunately, Magna Pestilencia does some things right. The 31-minute runtime keeps the record from overstaying its welcome, and many of these songs still manage to work in some pretty distinct riffs. Early highlight “Obliteration” shows just how effective the band’s formula can be, with its slow and strained chords sure to earn the appreciation of Grave Miasma fans. “Blood Prison” and “A Slumbering God” feature a faster pace, with “Blood Prison” especially standing out due to its winding main tremolo riff. The closing title track also ends the record well with its particularly harrowing riffs, as if you’ve finally reached the lowest point of some deadly cavern. Finally, the production works well, with splashy cymbals and a smooth sound that still manages to have a raw edge.

When I submitted my application to write here over a decade ago (!!!), the review I included as part of my application package was for Nunslaughter’s Angelic Dread, which I gave a 2.5/5.0. Today, I love that fucking record and would easily score it a point higher. I hope Magna Pestilencia enjoys the same fate. Even though I can’t heartily recommend this album to anyone who isn’t already a huge fan of the style, there’s something genuine about it that keeps me wanting to come back. While the score below reflects how I feel about it today, I have a nagging feeling that this could be the type of album that insidiously grows on you for years to come. If nothing else, it still leaves me very curious to hear what Abysmal Winds will give us next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: I Hate Records
Website: facebook.com/abysmalwinds
Releases Worldwide: June 21st, 2024

#25 #2024 #AbysmalWinds #Cruciamentum #DeathMetal #Dismember #Entombed #GraveMiasma #IHateRecords #Jun24 #MagnaPestilencia #Mortem #Nunslaughter #Review #Reviews #SadisticIntent #SwedishMetal

Abysmal Winds – Magna Pestilencia Review

By Mark Z.

In the last few years, one of my favorite strains of death metal has been the “dark” variety. It’s not really a subgenre or even a wave, but more of a feeling that certain bands exude. I’m thinking specifically of groups like Cruciamentum, Mortem, Sadistic Intent, Grave Miasma, and other bands of their ilk. These are groups that offer a musty and ominous approach to death metal, groups whose atmosphere makes it feel like no matter how many times you listen to them, there is always something black and slimy lurking undiscovered in some hidden corner of the world they create. Thus, when I saw that Abysmal Winds describe themselves as “dark death metal” and count both Sadistic Intent and Grave Miasma among their influences, I couldn’t wait to check them out. Formed in 2020, this Swedish group brings experience from a whole host of obscure metal bands, with Avsky, Corpsehammer, and Omnizide probably being some of the bigger names. Following their 2022 demo Doom Prayer, the group are now releasing their debut album, Magna Pestilencia.

Listening to Magna Pestilencia, it’s obvious that Abysmal Winds have a particular affinity for Grave Miasma. Like that British group, these Swedes use a lot of groaning tremolos that writhe and hum beneath gruff growling vocals and steady driving rhythms. Things never get too aggressive, with the band instead focused on creating malevolent and cavernous compositions that still manage to have discernible riffs. In keeping with their origins, the group also have a distinct Swedish death metal flair, though that influence surprisingly comes from the drums rather than the guitars. Often, these songs are propelled by the same punky Swedeath beats used by Dismember, Entombed, and the millions of Swedeath bands that came after those two. They also throw in the occasional blast beat or slower moment, though things never get particularly fast or doomy.

The biggest problem with Magna Pestilencia is that it sticks very rigidly to its formula. Most of these songs simply cruise forward on mid-paced Swedeath beats, and the occasional blast beat or slower moment simply does not offer enough variety to make for a wholly engaging listen. By the album’s second half, I’m practically begging for some sort of crawling doom break, sinister melody, or big crunchy riff that will get my noggin moving. Interestingly, the intro song “Incantation” is actually the most distinct track here, with its basic cavernous melody at least offering something different. Perhaps because of the album’s rigid adherence to its formula, the record also never seems to feel as atmospheric or threatening as the band’s influences.

Fortunately, Magna Pestilencia does some things right. The 31-minute runtime keeps the record from overstaying its welcome, and many of these songs still manage to work in some pretty distinct riffs. Early highlight “Obliteration” shows just how effective the band’s formula can be, with its slow and strained chords sure to earn the appreciation of Grave Miasma fans. “Blood Prison” and “A Slumbering God” feature a faster pace, with “Blood Prison” especially standing out due to its winding main tremolo riff. The closing title track also ends the record well with its particularly harrowing riffs, as if you’ve finally reached the lowest point of some deadly cavern. Finally, the production works well, with splashy cymbals and a smooth sound that still manages to have a raw edge.

When I submitted my application to write here over a decade ago (!!!), the review I included as part of my application package was for Nunslaughter’s Angelic Dread, which I gave a 2.5/5.0. Today, I love that fucking record and would easily score it a point higher. I hope Magna Pestilencia enjoys the same fate. Even though I can’t heartily recommend this album to anyone who isn’t already a huge fan of the style, there’s something genuine about it that keeps me wanting to come back. While the score below reflects how I feel about it today, I have a nagging feeling that this could be the type of album that insidiously grows on you for years to come. If nothing else, it still leaves me very curious to hear what Abysmal Winds will give us next.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: I Hate Records
Website: facebook.com/abysmalwinds
Releases Worldwide: June 21st, 2024

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