The past is an odd thing; people expect you to come to terms with it and reference it in your art (in the form of genre norms and adherence to “the greats”) but not too blatantly, lest you be deemed a “rip off”. Once you’ve “touched” the past, it’s also extremely hard to shake it off, as your work will constantly be judged in light of it. Some bands solve these conflicts and nuances by simply diving head first into homage, worship, and clear references, preferring to cut through all the questions by explicitly communicating with their influences.
Ancient-Egyptian-themed blackened death metal is a weirdly popular niche. It’s easy to understand the appeal, but just how popular the style can be is surprising at times. What’s even more surprising is that few of these bands are actually from Egypt (mostly this review’s namesake and Scarab). Enter Crescent, a band formed in 1999 but only put out their debut in 2014. Hailing from Cairo, they’ve fit in comfortably to this style, and ready to make waves with their second full-length, The Order of Amenti.
Hello, Hellions. Welcome to Death’s Door, February Edition. Wipe your feet on the mat, pull up a bone chair and feast on the flesh of the unbelievers while I complain about the worst month of every year. Yes, that would be February. The Corporate Holiday has passed, the fresh stench…
Greetings Heaviest of Heavy Bloggers! Let me be the last to wish you a Happy New Year and welcome you back to Doomsday, our monthly roundup of the most noteworthy doom-centric releases from the past few weeks that deserve special recognition. As you may have already noticed, 2018 is starting…
Ukraine’s Blame might only be in their infancy, but that hasn’t stopped them from releasing one of the most impressive slabs of punishing, grove-driven technical death metal in recent memory. Almanac is the second of two EPs which constitute the band’s entire discography to date, although it comes off like…
Welcome to the final installment of Death’s Door in the Year of Our Nefarious Overlord 2017! Wipe your feet on the mat, remove that stupid holiday-induced smile from your face, and prepare yourself for ultimate year-end audio brutalization. Because, quite frankly, 2017 was one of the best years for death metal in decades. A bold statement indeed, and thankfully one with plenty of data in the form of amazing records to back it up. The overwhelming number of releases in this dirtiest of metal subgenres, coupled with the breadth of quality releases in each of the branches of the death metal tree, all accumulate to create one of the most impressive lists of death metal albums in a given year since the early 1990s. 2017 presented us with exceptional records at such an alarming clip that it was often a full-time task to keep track of them. Death metal this year was in equal measure mind-numbingly technical, socially forward-thinking, compositionally adventurous, and reverent of the past, generating albums that displayed with full clarity all that makes this music the metal behemoth that it is. What a time to be alive. In our final segment of Death’s Door for the year, we will be highlighting the trends and movements within death metal that we found to be the most significant, as well as our own personal top 15 death metal records on the year. Prepare yourself. Madness awaits.
Strap in for another ugly one.
There have been previous attempts at integrating flamenco elements into metal. There have even been successful, good attempts at doing so. However, there are few that have been successful at blending them seamlessly. This applies not just to flamenco, but any influence outside of metal. It’s either the case where a regular metal song suddenly erupts into an irrelevant genre break, or it’s barely a metal album. The latter case usually happens, for example, when jazz musicians get together and write an album that’s mostly in their own wheelhouse, with some minor metal elements. Even further, the most extreme of metal subgenres are usually spared these excesses. Enter Impureza, a band that skirts the line between progressive and technical death metal, and perfectly fits flamenco into that picture. The end result is just delightful.
Vitriol are a death metal band from Portland, Oregon. Their debut EP, Pain Will Define Their Death, drops November 10th. Here’s hoping that next year they drop a full-length record. And perhaps another the year after that. Same the following year. So on and so forth. Mark your calendars, tune your EQ to “Deadly”, and prepare yourself for abject disappointment, because this EP only has three songs and that isn’t nearly enough music from this monumentally talented band. We need more of this, dammit, and we need it NOW!
If you’re into extreme metal in any capacity, the name Dallas Toler-Wade may no doubt ring a few bells. You may best know him from his two-decade tenure as vocalist and guitarist for seminal death metal band Nile before his departure earlier this year. Now, his project Narcotic Wasteland — whose self-titled debut album dropped in 2014 — is back as a full-time unit rounded out by drummer Phil Cancilla (Hank 3), guitarist Edwin Rhone, and bassist Chris Dupre.
As the group are gearing up for the release of sophomore album Delirium Tremens (due October 13th through Megaforce), Dallas himself was kind enough to give us a rundown of the most influential bands and albums that shaped his growth as a music fan and as a musician. Get a look into The Anatomy Of Dallas Toler-Wade’s musical development below.