Tag Archive Entombed

Wombbath – Downfall Rising


In discussing Downfall Rising, it is impossible to avoid framing Wombbath’s resurfacing within two themes within the annals of death metal history. It is first obvious to focus upon Downfall Rising’s status as a comeback record; one would hope that the impetus for ceasing a two decade hiatus was a docket of invigorating material. Death metal has had a couple of resoundingly successful comebacks in recent years, seeing as both Gorguts and Carcass dominated metal discourse in 2013 with two of the strongest releases – Colored Sands and Surgical Steel, respectively –  from both that year and within their own discographies. However, the second piece in this historical examination is the platform from which these comebacks sprung. Not every original death metal band has released as many undeniable masterpieces as Gorguts or Carcass; Obscura and Heartwork are the types of albums whose impact is a singular occurrence in a genre’s life cycle. The grand majority of original death metal bands either fizzled out in the days of tape trading or released a moderately respected classic before releasing a lackluster follow-up – if even that – and then breaking up. Genre purveyors label these mild classics as deep cuts rather than essential listening; God Macabre’s The Winterlong… and Carnage’s Dark Recollections, but they are no Left Hand Path or Altars of Madness. While there are instances of these types of bands initiating a comeback, their reception has thus been fairly lukewarm. Convulse’s World Without God did little to stir excitement in 2013’s Evil Prevails, and when Massacre released the underwhelming Back From the Beyond last year, some in the death metal community revisited their debut From Beyond and questioned whether or not it has truly held up as a genre classic. All of this considered, the present question is as follows: twenty two years after Wombbath’s moderate classic Internal Caustic Torments, within which of the aforementioned categories – if any – does Downfall Rising place the band within?

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Undergang – Døden Læger Alle Sår


Only vulgar adjectives accurately describe the sounds fileted for public consumption by Danish trio Undergang. With a self-described M.O. of “regurgitating sewer death metal since 2008,” the band has spent the several years churning out bile-grade releases that harken back to the genre’s Nineties golden age. Indeed, albums such as Døden Læger Alle Sår manage to sound both currently relevant and inventive and satiating to nostalgia craving palettes. In this particular package of death metal atrocities, the band has crafted ten slabs of grotesque, punishing and well-crafted slime that remains consistently engaging. With plenty of reference points to be made with genre heavyweights as well as a signature garbage heap garnish, Døden Læger Alle Sår is an impressive feat of death metal butchery.

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Adam Wentworth Of All Pigs Must Die — The Heavy Blog Is Heavy Interview

all pigs must die

By the time this has been posted, All Pigs Must Die will have played Roskilde Festival in Denmark and probably left a few bodies behind in their wake. The crust punk “supergroup” (hate that term) features members of Converge, The Hope Conspiracy, and Bloodhorse, if you were not aware. I managed to share some words with Adam Wentworth, one of the Bloodhorse reps in All Pigs Must Die. Find out what he hes to say about the writing process for the band and what he thinks about the overuse of subgenres in music today after the jump.

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Rapidfire Reviews: Entrails – Obliteration, Wiegedood – De Doden Hebben Het Goed, & Gutter Instinct – The Insurrection


Entrails – Obliteration

Not everything that glitters is gold, someone once said. This is painfully obvious when listening to Obliteration, the Metal Blade debut from resurrected Swedish death metallers Entrails. We are so used to the label releasing stellar records left, right and centre that when one comes along that stinks up the place, it comes as a bit of a shock. But for a few (barely) redeeming factors, Entrails have dropped a clanger. A big, gory, death metal clanger.

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EXCLUSIVE PREMIERE: Gutter Instinct – ‘The Invisible Hand’

gutter instinct

Few places lay claim to a specific type of sound more than Sweden. Even before becoming known as the birthplace of melodic death metal and the subsequent modern metal movement, the country spawned its own specialized death metal movement characterized by the buzzsaw guitars, thrashing speeds, and grinding chaotic brutality popularized by acts such Dismember and Entombed.

Since its origins as a spin-off of d-beat and hardcore punk, things have come full circle, with bands such as Nails and Trap Them bringing the sound back to hardcore. However, there are bands still actively pursuing the Swedish death metal ideal, and Gutter Instinct are making their name as acolytes of the sound while aggressively exploring further ground, citing influences from acts such as Portal and Bolzer. Catch a stream of the group’s debut track, ‘The Invisible Hand‘ after the jump!

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Tribulation Premiere ‘In the Dreams of the Dead’


I don’t know if you’ve noticed or not, but within the past few years, there has been a Swedish-influenced old school death metal revival going on that has brought with it a legion of exciting and innovative new bands. The best American example of one of these bands is Horrendous, but Sweden has naturally been the forerunner of this movement and is cranking out bands left and right that fall under what I like to call the New Wave of Swedish Death Metal. One of these bands is Tribulation, who started out as really good Entombed worship on their first album, The Horror, but became something entirely different on their second album, The Formulas of Death. In turn, they’ve become one of the most interesting death metal bands on the planet; if you don’t believe me, just listen to their wicked new song, “In the Dreams of the Dead.”

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Xibalba Set To Unleash Tierra Y Libertad In January


Pomona, CA death-sludge masters Xibalba have announced details and revealed artwork for their highly anticipated third LP, Tierra Y Libertad. The album will drop January 26th in Europe and the 27th in North America via Southern Lord Records. The band commissioned renowned death metal artist Dan Seagrave for Tierra Y Libertad, famous for classic album covers like Malevolent Creation‘s Retribution, Entombed‘s Left Hand Path, and many more. Head on over the jump for the full track list and more details.

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Entombedcore Update – Black Breath to Enter Studio with Kurt Ballou

Black Breath are among the legion of newer bands whose Entombed and Dismember back patches take up the most space on their jean vests. Southern Lord Recordings has now announced that they will continue to support the band’s creative residency in Sweden with their upcoming third album, slated for an early 2015 release. As they have done with their past two albums, the band have selected Kurt Ballou of Converge (a more or less obligatory choice for bands playing entombedcore) to produce this currently untitled project. No further news has been made available as of right now, so look for more updates during their late-November to mid-December stint in the studio. In the meantime, check out their video for “Home of the Grave” from their most recent release, Sentenced to Life after the jump.

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Rapidfire Reviews — Entombedcore Edition: Skinfather, Vallenfyre, and Enabler

rapidfire entombedcore

Skinfather - None Will MournSkinfather – None Will Mourn

[Streetcleaner Records]

For those who didn’t know, Entombedcore is becoming the standard moniker for bands who mesh Entombed-style death metal with the hardcore stylings of bands such as Converge. Bands such as Trap Them, Nails, and Black Breath have spearheaded the whole Entombedcore movement and given rise to many similar bands. Skinfather is perhaps the most recent of these bands to gain the spotlight. The first signee to Nails drummer Taylor Young’s new label, Streetcleaner Records, the band’s debut record None Will Mourn was also produced by Young, who did a great job of capturing the band’s raw intensity. The band takes their name after a song of the same name featured on the Dismember album Indecent and Obscene, which is probably not a coincidence, considering the razor sharp buzzsaw riffs on display throughout None Will Mourn are clearly derived from Dismember and the likes. The grooves call to mind early Entombed, albeit soaked in a hardcore attitude. The riffs are thick, meaty and mean. Not a game changer by any means, but a worthy addition to the growing Entombedcore empire.


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