The Decapitated Situation & the Ignorance Surrounding It

It’s been a rough month to say the least for Polish Death Metal turned Groove Metal titans, Decapitated. As most of you may already know, the band was arrested on September 9th for allegedly kidnapping and gang raping a woman in Spokane, Washington after a show. They were taken into custody, questioned and blah blah blah, the whole nine yards and we were left to speculate and theorize as to what the hell was unfolding. For my own sanity, I waited to speak on this until further details arose. Well, today we got an update: all 4 members of the band have been formally charged with rape. Vocalist Rafal Piotrowski and guitarist Waclaw Kieltyka for second degree rape and drummer Michal Lysejko and bassist Hubert Wiecek for third degree. While this still doesn’t prove anything, at least it’s another step forward. However, the reason I want to speak on this now, is because while reading up on this, I made a bad judgment call and actually visited the cesspool of vermin that is MetalSucks to see what they had to say about this out if pure morbid curiosity… nothing too out of whack, except for this:

Capture 2


Look, i’m not a fan of the current incarnation of Decapitated; I don’t like anything they’ve put out since Organic Hallucinations, but obviously, this has nothing to do with music, and since we don’t know the truth yet, I feel like I need to address this. In today’s society, we seem to hold this mentality that when a man is accused of raping someone, the accuser’s words are to be taken at complete face value and he’s automatically guilty and no proof is needed whatsoever. Guilty until proven innocent. And anyone who says otherwise is a “victim shamer” and “the reason most women stay silent about being raped”. That, like most other narratives being spread like the plague by radical lefties nowadays, is incredibly ass-backwards. It’s not a matter of “shaming” anyone. It’s a matter of not jumping to conclusions and condemning someone without solid evidence. Nobody is shaming anybody. Leave it of course to the turds at MetalSucks to regurgitate this garbage. It has nothing to do with “misogynist assholes with heinous views”, it’s about having common sense. Is it possible that the band is guilty? Yes. They may very well be, and if they are, then they should face the consequences, no doubt. There is also a chance however, that the accusations are false and the woman in question is lying. I know, i’m such a misogynistic edgelord, right?

Well, first off, If you read the first article linked here, you’ll see this little tidbit:

Capture 3

She already has a history of lying to the police. This sure as hell won’t help her case. This is a side that a lot of people don’t look at. We live in an age where word travels fast… FAST! Anyone can start a rumor just by walking outside their house, pointer their finger in a random direction and yelling “this person raped me” or committed some other heinous act and everyone will run with it. Or anyone with a social media account can post a status or tweet accusing someone of anything and suddenly, they’re public enemy #1, Because ya know, if it’s on the internet, it must be true. This goes for both women and men, it’s not a gender-exclusive thing, so don’t read this thinking I’m some neckbeard woman hater. I’m anything but that. We seem to have become so caught up in the “rape culture” narrative, thanks to sights like MetalSucks, BuzzFeed, Cosmopolitan, Tumblr, etc that our paranoia and eagerness to condemn anyone and everyone has been spiked to unearthly levels and it’s made us ignorant and stubborn. So much so that we’re not willing to look at both sides or all avenues of an issue. Especially when it comes to rape and other extreme crimes.

I’m going to give two good examples of this by leaving these here. Charlamagne sums it up perfectly talking about the Bill Cosby case while sharing his own account of being falsely accused.

…and if THAT wasn’t enough, then listen to this gem. Trust me, it’s worth it. Patrice O’Neal’s story:

Such a fucking insane story.

What these guys say rings very true. There is a side to this that we rarely look at. There are certain circumstances that could contribute to a situation involving alleged rape and they’re not as rare as many think. Just listen to their stories and you’ll know, and I know those are just two cases, but look up the many other cases of alleged rape and men being falsely accused and condemned right off the bat before any damn thing is proven. Google is your friend.

So again, this is not about “shaming” a victim or accusing anyone of lying, it’s simply waiting for an outcome. That’s what we need to do here instead of spreading willful ignorance and blind vitriol. I know that’s what most of you lefties like to do because you’re too cowardly to face facts, but it’s true. Just because the band has been charged doesn’t mean they’re guilty yet. If they did in fact rape this girl, then yes, she deserves justice and they should serve some hard time. It’s a heinous act and should be dealt with accordingly, but if they didn’t, and it does turn out that she lied… then THERE IS NO VICTIM. It’s that simple. We may not know exactly what happened on that bus at the moment, but wait until we do know to throw any condemnation at anyone.

This is my take on this for now. If any new developments arise, maybe i’ll make an update. For now, just wait it out and don’t be ignorant.

Until next time.



Album Thoughts | Grave Pleasures: Motherblood

So, the spookiest month of the year is upon us. The month where ghouls and goblins run amok, candy corn sales skyrocket and every unoriginal Hipster and their neighborhood hobo dresses up as the latest trending cinema icon; this year, Pennywise. Oh, and it’s the month I take one step closer to the Reaper… *sigh* Well, this is also the month where the latest release by perhaps one of the best Post-Punk bands I’ve come across in recent years drops. Grave Pleasures is an outfit that formed from the ashes of an equally good group, Beastmilk. This is their second album and just like the rest of their output under both names, it’s a quality batch of hauntingly catchy and melancholically fun Post-Punk jams with hints of Indie and Goth Rock that has the ability to be both dreary and peppy all at once without being corny or messy. Not only is this the most fun I’ve had listening to a non-Metal album this year, it may be the most fun I’ve had listening to anything of the Post-Punk, Goth, spooky variety period. Or at least in as long as I can remember.

The energy that these guys (and gal) convey through a dreary atmosphere is pretty unique for it’s style and so well balanced and super infectious. Each song on here is insanely catchy and and there are barely any dull moments. Starting off with Infatuation Overkill, which assured me right off the bat that this was gonna be a super fun ride of a listen; a great opening track with a very catchy chorus and some really good riffs here and there. Then we have Doomsday Rainbows, which follows the more Joy Division & New Order style vibe of traditional Gothic Rock and Post-Punk but still has it’s Indie-esque moments. Be My Hiroshima is one of the best tracks in this album and it made a great first single; it’s overall melancholic Gothy vibe but Indie style groove is blended together like a painting and the smokey riffs add a certain flair to it that further enhances the sound. Joy Through Death and Deadenders are also examples of that. The vocals especially bring a certain energy to the table that compliments the instrumentation well. Kinda reminds me of a more upbeat Bauhaus.

You can call this Post-Punk, Dark Indie Rock, Gothic Rock, Gothic Post-Indie or whatever, this is a different approach to all of those and it’s a perfect soundtrack for your spooky October festivities. Each song is a catchy, hyper and hauntingly melodic collection of jams for dark, tortured souls to enjoy. Like I said, this is the best I’ve heard from Post-Punk in quite some time and I highly recommend it to fans of such. Every track on this album is enjoyable and your attention is just demanded all throughout it. That’s a rarity. This is definitely a year-end list worthy release, which is good because I need more quality stuff of this variety.

So, if you’re a fan of any of the genres mentioned in this review, give this a shot for sure, as well as Beastmilk. This is unique stuff that’ll pick your mood up while bringing it down at the same time with it’s dreary, melancholic upbeat-ness. Is it weird? Sure, but worth your time and money? Absolutely. Great album by a great uprising act!

Until next time.


Just My 2¢: Szechuan Sauce, Rick and Morty & Annoying Fanbases

As i’m already busy writing-wise, reviewing more albums and working on other posts for this blog, on top of dealing with life outside of the internet, I now have to stop what i’m doing and address something that’s currently running rampant… well, I don’t HAVE to, but this is something that chaps my ass to no end. One thing that I rant about quite often, especially on Twitter when I still had one (I miss that shithole so much), is fanbases and how utterly fucking insufferable they can be. When it comes to bands, movies, shows wrestling, etc, there’s always that group of people who are so impassioned by whatever it is that interests them, that it inflates their ego and their perception of it becomes too distorted for it’s own good and they not only develop an unhealthy hyper-obsessive infatuation with it, but also adopt a false sense of superiority because of it. Rick and Morty is the latest to fall victim to this trend. Being pretty much the most popular adult cartoon around today and garnering an almost cult-like following, it was bound to attract some humans of the more bizarre breed that lurk among us in the shadows.

The fiasco that broke out over the last week regarding this particular thing involving the show is a prime example of that. Back in 1998, McDonald’s sold a limited edition sauce inspired by the movie Mulan called Szechuan sauce. How is this relevant? Well, recently Rick and Morty made a reference to this sauce in one of their recent episodes that sparked a high demand among it’s fans for the chain to bring back the sauce, including a petition on Well, they complied and brought the sauce back for a limited time (keep that in mind) and it sold like hotcakes. Pretty cool, right? Well, after the time limit was up and they stopped selling it… boy, did that trigger a reaction. The Rick and Morty fanbase exploded with outrage, going as far as camping out outside of McDonald’s restaurants and protesting to the point where the cops needed to be called and some even rioting over it. Not to mention throwing tantrums on social media, particularly Twitter. Real classy, folks.

Now, in today’s society, people acting like neanderthals over something small and minuscule isn’t all that surprising anymore. We now live in a world where calling someone by the wrong pronouns can land you in jail. So when something like this takes place, I barely bat an eye. However, it does further illustrate how belligerent and OVERLY rabid certain fanbases can be and it still fucking irritates me to the bone. People like this don’t seem to realize that their insufferably overzealous actions can not only make themselves look like complete fucking clowns, but also give the sane, rational fans a bad image. It can also drive some away. It’s happened to me with certain bands and their ridiculously rabid and obsessive fans who blow them up to be better than they actually are and put then on an almost deity-like pedestal. That kind of hype is annoying and will instantly drive me away. The same goes for movies and shows. Game of Thrones is another show that suffers from this. The excessive amount of over hyping and undeserved adulation is what killed that show for me. Not all “hype” is good hype, especially when it involves people acting like retards over a mere fucking meme. There was, however, one funny response to all this.

(Tumblr isn’t always bad, I guess)

In all honesty, I never gave a flying shit about Rick and Morty to begin with. To me it seems like a show for people who listen to Tool, watch Amazing Atheist videos and drink Mountain Dew regularly, so I never cared for it, but this shit sure as hell puts the nail in the coffin. Throwing a fit like a pack of cunts over a fast food sauce that no one would even remember existed had the show not referenced it makes me glad that I never even bothered with the show. If this is it’s fanbase, then count me out.

To everyone and anyone who considers themselves a fan of something, please, calm the fuck down. It’s just a show, it’s just a band, it’s just a wrestler, it’s just a whatever the fuck it is you like. Nothing it does impacts your life in any way, shape or form other than entertaining you. It owes you nothing and you don’t know any more about it than the next person in line. It’s fiction, it’s entertainment and that’s all it’s meant to be. You play no role it it’s existence aside from being in it’s audience and that’s where you belong. Nowhere else. So leave McDonald’s alone and if you like Szechuan sauce so much, then learn to make it yourself. It shouldn’t be hard. There’s no need to protest and cause disturbance in the streets. We have enough of that shit already, we don’t need any more.

Until next time.


Squared Circle Thoughts | WWE Hell in a Cell 2017


First off, apologies for this review coming up late. I was redesigning my blog as I was writing it and kinda got caught up in that. That’s done now and it now has a new look. Hope ya’ll like it. Anyway.

This is the latest PPV outing by the SmackDown brand, and cutting right to the chase, much like No Mercy, it had it’s redeeming qualities, but overall was kind of a dud show. There were two excellent matches, both of which were in the cell, including a hell of a main event that totally saved the show. Aside from that, the rest of the card was pretty much a letdown.

So, without any further blah blah blah, let’s get into it.

Hell in a Cell Match: New Day (c) vs The Usos (SmackDown Tag Team Title)

I knew they’d start off with the first cell match. I wasn’t complaining though because I knew it would be a banger. Boy did it deliver! Hell of an opener! Very fun and very brutal. New Day brought their usual comedic stuff to the table, but kept the tone serious. Big E with that ridiculous dive through the ropes, twice this time; jeez. A lot of brutal spots and stiff shots, the Usos continuing to lace motherfuckers with those superkicks, a lot of sick dives into the cage and kendo sticks fucking galore. There were a couple pretty unique spots too, one where New Day traps Jey Uso (I think) in the corner of the cage with kendo sticks and an STO off the apron into a Backbreaker on one of the Usos by Big E and Woods. Just lots of brutal stuff all around.

The brutality comes to a close after the Usos place a chair on top of Woods and hit a double splash from the top ropes for the win. The Usos are champs once again. Excellent opener and quite possibly the best match of the night.

Randy Orton vs Rusev


Orton wins. Next.

Triple Threat Match: AJ Styles (c) vs Tye Dillinger vs Baron Corbin (United States Title)

Next we have what became a triple threat match during the pre-show, as Tye Dillinger was added, so excuse him not being in the graphic, that’s why. Anyway, this wasn’t a match that I was particularly exited for going in, but it was another really good match. It started out a little slow, but picked up over time. The triple treat element was utilized well, especially with that Pele Kick knocking Tye into a pin on Corbin, which was a cool little spot.

Again, pretty average but pretty good match overall. Baron Corbin picks up the win after AJ hits the Phenomenal Forearm on Dillinger and Corbin comes running back into the ring, knocks AJ out of the ring and steals the pin. New US champ! Hopefully this is the beginning of AJ moving back up to the main event level. But we’ll see.

Natalya (c) vs Charlotte Flair (SmackDown Womens Title)

Next we have the ladies match of the night. This is another match that I wasn’t looking forward to. I’m not a fan of Natalya and I don’t care for her at all in this position. This was another average at best match with nothing special to it. A few good spots here and there and some decent back and forth action, but overall, nothing too intriguing. Short story short, Charlotte wins by DQ after Natalya attacks her with a chair. That was it. No Carmella cash-in, which I was kind of expecting, but whatever. I guess this feud will be continuing. Okay then.

Jinder Mahal (c) vs Shinsuke Nakamura (WWE Title)

For the second time, the Modern Day Maharaja meets the King of Stro… I mean the Artist. This was yet ANOTHER match that I didn’t care for. I love Shinsuke, but these two just have no chemistry. The Jinder experiment has been a dismal failure and it’s time to get the belt off of him already. Anyway, this was another average match, not much different than the SummerSlam one. Short story short, The Singh brothers get ejected due to their usual pesty cheating tactics, Nakamura hits a Kinshasa on Jinder and pins him while the referee is distracted while ejecting them, Jinder grabs the rope when the count finally happens, Shinsuke goes for another Kinshasa, Jinder moves and hits the Coloss for the win. Jinder retains.

Again, nothing special, just average.

Bobby Roode vs Dolph Ziggler

Again, *yawn*

Average match, nothing special, Roode wins after an awkward roll-up reversal sequence. Meh. Next.

Hell in a Cell Match: Shane McMahon vs Kevin Owens

Main event time! What a main event we had here. The blood feud between Shane McMahon and Kevin Owens culminates in a brutal cell match that, along with the other cell match, saved this show completely from being a total dud. This one started off a little slow, but picked right up and delivered. A lot of sick spots in this one, Owens grinding Shane’s faces across the chain link steel in front of his kids like the despicable heel he is, a sick running plancha off the apron through a table against the cage by Owens, and Shane’s usual signature spots like a coast to coast with a trash can and throwing horrible punches. Things get more intense on the outside, as we knew would happen with the redundant “falls count anywhere” stipulation implemented. They brawled all over ringside, they went to the top of the cage, which we all knew would happen, it appeared as though they were going to go THROUGH the cage while they were on top. Nope. Then they fought their way back down and Owens falls off and goes through one of the announcers tables.

Then the most unexpected thing of the night happened. Shane places Owens on the middle announcers table, climbs to the top of the cell, goes for his big elbow drop off the top, and BOOM! Out of nowhere comes Sami Zane and saves Owens. Then places Owens over Shane for the 1-2-3. Owens wins. Pretty cool and surprising finish. Shane then gets stretchered out as the show ends.

Damn good main event to close out the show. Again, absolutely saved it.

Other Points:

  • Only a WWE crowd can absolutely run a chant into the ground and ruin it.

So, that’s all folks. Overall, this was a pretty damn average at best show with two really damn good matches and one decent one that saved it. Shane/Owens delivered, New Day/Usos delivered in spades, and AJ/Dillinger/Corbin was very good. The Sami Zayn thing was unexpected and it will be interesting to see where it goes. The rest of the show however, not so much. No Mercy was better than this show; that one only had 2 bad matches on the card. The undercard for this one was just bleh.

So, yeah. SmackDown really needs to step it up. Start by getting the belt off of Jinder and utilize it more prominently than it is. Put it on Kevin Owens. After this performance, he sure as hell deserves it. Nakamura or Styles would be good too. Just anybody but Mahal. Anyway, I really hope things pick up for SD going into Survivor Series. If not, I may have to turn my FULL attention to Raw going forward. As much as that sucks to say. We’ll see where the cards fall.

Until next time.


Album Thoughts | Spectral Voice: Eroded Corridors of Unbeing

2017’s streak of filthy and dissonant Death Metal continues. This time around, we have a very heavily hyped debut album by a band very quick on the rise, and deservingly so. Denver, Colorado’s Spectral Voice have arrived on the scene and have already made an impact of devastating proportions. Featuring members of Blood Incantation, one of 2016’s Extreme Metal MVPs, this project brings a whole new dimension to the murky, Doomy Death Metal style that the main band brought to the table. Eroded Corridors of Unbeing is the latest in the long line of atmospheric and unrelenting Death Metal that has graced our poor, lucky earholes with it’s brand of sound, and after a good couple listens, I can already say with ease that this one may very well be the most unique and best of the bunch. I will admit that the hype around this album did get a little annoying; no fault of the band, it just irks me when I see something over and over again and it’s dick being sucked to the root by everybody and their neighborhood hobo. That’s just me and my misanthropic silliness shining through as usual, but regardless, while the latest Blood Incantation album was fantastic, this project is an entity of it’s own and offers up something completely different and on a totally different cosmic plane.

The best way I can personally describe this is, if you took the atmospheric filth of Impetuous Ritual, the slow eeriness of Evoken and the intensity of Disembowelment, put them on a pallet, mixed them together with a brush and painted them into a masterpiece, Bob Ross style on a canvas coated in thick, pulverizing production. BOOM! You get Spectral Voice. This is an ambiguous and transcendent style that treads the waters between old school Death Metal, Doom and Black Metal, but keeps a solid balance between each style and blends them together damn near perfectly to create this crushing and vicious sound. Thresholds Beyond starts this ripper off with an eerie, Evoken-like riff that slowly build into a storm of grime and harshness that awaits you throughout this hellride. The riffs are super intense and the drums are muddy and hoarse and it’s all topped off by the insanely vicious bellowing growls and shrieks of Eli Wendler; quite a throat there. Let’s not forget the stellar production. The production is excellent and also plays a huge role in how unique and intense the sound of this is. Visions of Psychic Dismemberment, the longest track on here, is a perfect example of this. The atmosphere that surrounds this gives off this abyss-like apocalyptic vibe that enhances the impact of each riff and chord that jumps out at you. The slower and Doomier parts on here are just continuous sonic assaults that force you to pay attention as you suffer it’s wrath.

The more mid-paced and faster moments on here are just as cruel and unforgiving, as Lurking Gloom, while the shortest track, exhibits the most unique qualities of the 5 as it continues the Evoken-worshiping melodies all throughout as grimy double bass pounding and ominous tremolos roar right through you. Terminal Exhalation might be my favorite of the batch; an absolute rabbit-hole of a track that starts out as a slow, crushing, droning Doom fest with some of the most heinous shrieks I’ve ever heard, then spirals out into a bottomless pit of old school sonic Blackened Death terror. The light at the end of the tunnel comes with Dissolution, the harrowing beast of a closer that makes absolute fucking sure you don’t leave without marks.

So needless to say, I now fully believe the hype and so should you. I hate to bash things over people’s heads like this, but this is totally worth it. This album took me by complete surprise and it will absolutely go down as my favorite Doom album of this year, surpassing even Funeralium and Loss, as great as those are too. This is Death Doom at it’s absolute most visceral and organically dark and it’s pretty much an essential one to listen to before the year is done. There was already a slew of Doom that I was looking forward to since January, and I have enjoyed all of it thus far, but this one came totally out of nowhere and may very well have stolen the top spot. Excellent Doom, excellent Death, excellent album and infinitely recommended!

Until next time.


Album Thoughts | Reverorum ib Malacht: Ter Agios Numini

As I said in a previous review, there’s this small number of bands within Extreme Metal who have a special talent for creating something utterly twisted and terrifying and are able to get under the skin of even the most jaded of listeners by creating the most horrid sounds you’ll ever hear made by a human being. That uncanny ability to reach into the deepest and ugliest corridors of your soul, find even the smallest hint of trepidation you have hidden inside and rip it right out to the surface by deeply entrancing you and opening a door for you into a world of surrealistic madness and morbid esoterica. This is an act that has that ability in spades. Reverorum ib Malacht is a somewhat mysterious project that features members of various Swedish Black Metal bands and plays a very strange but intriguing mix of Atmospheric Black Metal, Dark Ambient, Noise, Electronic and various other seemingly random styles. It’s an ambiguous sound for sure, but it’s a very cohesive sound as well. It’s anything, however, but clean or friendly.

This is the third full-length album by this project and while it may explore different subject matter than it’s predecessors, as both of this act’s main members apparently converted from Luciferianism to Catholicism and took it’s lyrical content in that direction as well, it’s sound remains just as ugly and frightening as it always was, if not, becomes even more so. The lyrics seem to explore the darker side of Catholic mysticism, as presented on the previous and also excellent full-length, De Mysteriis Dom Christi. So calling this “White Metal” or “Unblack Metal” as Black Metal bands of the Christian variety are often called (and rightfully so) would be a bit of a stretch. As far as the music goes, this is a 4-track album that consists of 2 full songs and 2 instrumentals. Starting off with Synesthesi; a brief introductory track of mostly ambiance and weird sounds that leaves you wondering exactly whats to come… then things get terrifying. Following the intro is the 21-minute Long into the Time Beyond; a complete nightmare in audio form. This track starts off with a flurry of very light and distant sounding blastbeats coupled with very strange ambient soundscapes and freakishly distorted yells, screams, shrieks and whatever other sounds that were protruding from these maniacs’ mouths; but it doesn’t end there.

Halfway through this horrifying ride of a song, the music breaks and fades off, and things take an ever more frightening turn, as the rest of the track becomes a passage of atmospheric ambient soundscapes, harsh noisiness and more loud, inhuman bellows in the distance. It continues until the lengthy composition finally ends. Then comes another brief instrumental, named after the band itself; just more weird noises and ambiance, clearly another up-winder. Then comes the 17-minute closer, Dwellings are His That Die; a very different but just as freaky experience of a track, this time, exhibiting more of a weird, Electronic style sound, starting of with a weird, distorted beat, covered in all kinds of creepy noises and programmed soundbites scattered about. The vocals are even more distorted and programmed for this one. This is another strange composition that does a fine job in skyrocketing your paranoia levels and leaving you totally creeped out or even scared, but again, intrigued and invested at the same time.

This is a very experimental and artistically ambitious project that isn’t afraid to push the envelope and test the listener’s sound threshold and assault you with as much harsh noise and piercing soundbites as possible in a single track, let alone an entire batch of them. The same thing is accomplished with this as was with the latest Black Cilice and Impetuous Ritual albums. Though not the same stylistically, it had the same effect on me as those two did. They entranced me, creeped me the everloving fuck out and entertained me all at once. This is a great album by a great project that delves deep into the unknown and channels it with the most esoteric and hellish of sounds. It will definitely please those looking for something strange and scary and those looking for something at least rooted in old school Black Metal, which this surely is. I highly recommend it to both sides.

So, here’s to yet another piece of nightmarish art for 2017 that did it’s job in making my skin crawl and having me invested all at once all throughout. This is an interesting bunch indeed and this is just one of their multiple anti-cosmic beasts of releases, which you should also check out. I’ll always be open to giving anything strange or terrifying a shot, and it’s albums and bands like this that always keep that door open. So give this one a listen if you dare. It’s perfect for Halloween.

Until next time.


Album Thoughts | Incantation: Profane Nexus

In a year where hazy, muddy and filthy Death Metal runs rampant, it was only a matter of time one of it’s innovators would drop their contribution. The highly imitated but never duplicated legends, Incantation return after a 3-year hiatus with yet another fucking ripper. This is the 11th full-length by the Pennsylvanian quartet and though it took me a bit to get around to, it was well worth the wait. They haven’t missed a single beat and continue to dish out some of the most savage and ruthless Death Metal known to the human ear. If you’re familiar with them, which i’m sure most of you are, you already know that they play old school style Death Metal with an apocalyptic and dismal feel to it, similar to bands like Immolation or Hate Eternal. The murky production that they’re known for using creates an extra menacing tone to an already brutal sound and thus making them a stand-out in the world of filthy, vicious riffs, guttural, bellowing growls and muddy blastbeats. Incantation are one of those bands who encompass what grimy, unfriendly OSDM should sound like and Profane Nexus only drives that point home.

Starting right the fuck out the gate with Muse, after a short, winding intro, the floodgates swing right open and an avalanche of furious blasts and brooding tremolos radiating from thick, filthily produced instrumentation comes mercilessly firing at you and wastes no time in assaulting your senses without end. Completely caught me off guard. You’re only granted a couple seconds of recovery time as the onslaught continues right into each following track without a hint of hesitation. Rites of the Locust continues the madness, opening with an extremely vicious flurry of scathing, baleful riffs coupled with super intense double bass pounding, then picking up where the previous attack left off in unleashing more of that same hellish fury, and it’s not done there. Then comes Visceral Hexahedron, where things slow down for a moment and become a bit Doomy. This is a more mid-paced track but it’s just as ruthless and good at beating your ear-cells senseless. The Horns of Gefrin and Xipe Totec are my two other favorite tracks that dish out a quality audio beating made of vicious, unforgiving riffs and muddy, grimey drums and bass, with John McEntee’s signature ferocious growls as the cherry on top.

We also have weirder moments on this one, like the super slow and Doomy Incorporeal Despair, which sounds like something straight out of Ahab’s playbook, and the instrumental Stormgate Convulsions from the Thunderous Shores of Infernal Realms Beyond the Grace of God. Another weird one, but good for what it was. Then comes Messiah Nostrum; another deliciously nasty one. This entire album is a showcasing of a band with well over 2 decades under it’s belt now, but clearly not slowing down or letting up anytime soon. That’s more than what can be said for many other bands of their era. These guys are a consistent force within the Death Metal genre who can create some of the filthiest and most unrelenting sounds all across the board. Many bands try to recreate that ruthlessness and some do it very well and add their own twist to it (Impetuous Ritual, Triumvir Foul, etc.), but Incantation are indeed the real deal and undeniably one of the pioneering acts that helped mold this style and sound.

So, needless to say, this right here is a quality slab of OSDM goodness that you should get your hands and ears on for sure. Like the rest of the filthy, murky Death Metal I’ve praised thus far in 2017, this one is up there. Way up there!

Until next time.