Bloody hell, has it really been over a year since the last installment of OOB? Seems a little crazy since brutal death metal in all its wondrous guises has long been a major part of THKD’s bread and butter. But rather than lament the fact that these features are few and far between due to the laziness of yours truly over the past few years, let’s delve into what’s new and bludgeoning in the world of brutal death metal, slam, etc…
What’s this? A goregrind band that doesn’t sing about gore? Germany’s The Creatures From The Tomb (henceforth referred to as TCFTT) play groovy goregrind in the vein of Cock and Ball Torture, The Day Everything Became Nothing and Cliteater, but their songs are not about zombies or hacking people up or having sex with corpses. Instead, TCFTT mine their subject matter from classic black and white horror films, such as The Phantom of the Opera and Creature from the Black Lagoon.
Those of you that follow the brutal/slam death metal scene are likely well aware of the fact that Asia has been positively killing it for the last few years. While many of the continent’s most celebrated acts hail from Japan (Vomit Remnants, Gorevent, Infernal Revulsion, Medic Vomiting Pus, etc), neighboring China is no slouch either, as evidenced by Deformity of Human Consciousness, the second album from Tianjin’s The Dark Prison Massacre.
I had been looking forward to writing about Internal Bleeding’s new single “Final Justice,” but given recent events, I now find myself doing so with a heavy heart. On April 20, 2017, IB’s drummer and founding member William Tolley died while serving his community, battling a two alarm blaze as a fourteen year veteran of the Fire Department of New York, who had previously assisted with the September 11, 2001 rescue efforts as a volunteer fire fighter. “Final Justice” is to my knowledge his last recorded work with the band.
Ever since releasing the underrated classic Supreme Entity back in 1999, Japanese brutal death metallers Vomit Remnants have been something of an on again / off again band; Metal Archives lists their years active as 1997-2001, 2001-2005, 2015-present. This might explain why it took them nearly two decades to record and release a follow-up in the form of this year’s Hyper Groove Brutality, but rest assured it was more than worth the wait.
I damn near passed on checking out Serial Butcher. On the surface, everything about the band’s second album Brute Force Lobotomy, from the title to the cover art, screams run-of-the-mill brutal death metal. But if there’s one thing that listening to metal for all these years has taught me, it’s that the old cliche about not judging a book by its cover is usually true, and such is the case with Serial Butcher. Indeed, the Belgians play brutal death metal, but their sound is anything but ordinary.
Back in 2012, Jacksonville’s Cystic Dysentery released Culture of Death, one of my favorite under-the-radar brutal death metal albums of the last five years. Indeed, the band’s debut displays their oldschool Floridian influences (think Cannibal Corpse, Obituary, etc) while at the same time upping the heaviness factor considerably by mixing in some seriously gnarly Suffocation vibes, twisting those inspirations into a singular BDM assault. After four long years of silence, Cystic Dysentery are finally ready release a follow-up, the long-awaited Homicidal Suicide.