If there’s one thing Metal Twitter™®© is good for, it’s manufacturing non-controversies within the scene. The latest of these flare-ups occurred when Philly-based death metallers Pissgrave unveiled the cover art for their new album Posthumous Humiliation, set to be released March 1st via Profound Lore.
One of the more interesting developments in the underground over the past half-decade or so is the renewed interest in dungeon synth. This was no doubt brought on by the rise of Dutch practitioner Old Tower, who released the excellent Stellary Wisdom this year on Profound Lore, as well as the recent reissues of Mortiis’ early works, coupled with his recent tours focused strictly on this “era one” material as opposed to his current industrial rock/metal incarnation.
2015 has been a damn fine year for death metal so far, and it appears that Profound Lore is looking to up the ante with their most recent salvo of releases. Indeed, the label has in its hot little hands a pair of debut full-lengths from two up-and-coming bands who’s respective takes on death metal couldn’t be more different if they tried, yet both strive for excellence in their own way.
Few bands have captured my attention in 2014 quite like Full of Hell. I had the pleasure of witnessing the quartet’s devastating, show-stealing live set back in August and was blown away by their combination of relentless intensity and determination to push the envelope of grind/hardcore deep into the realms of harsh noise. It was like someone had thrown Jane Doe-era Converge in a blender with Release Records-era Merzbow and set that motherfucker to liquefy; easily one of the most simultaneously challenging and exhilarating live experiences ever. Needless to say, when I caught wind of the announcement that they had signed a deal with Profound Lore and their debut for the venerable label would be a collaboration with the aforementioned Japanese God of Noise himself, anticipation was through the roof and then some.
Trying to keep up with Profound Lore Records is no easy task. Every year it seems that the label bombards us with more and more quality releases, and being a one man show here at THKD, I often find myself stretched incredibly thin as far as my ability to listen to and write about as many new albums as possible is concerned; some stuff inevitably slips through the cracks. In an effort to prevent that from happening, I’ve rounded up some of my favorite recent PL releases in one place. What follows is a brief rundown of each one.
It’s been quite a while since I did one of these (over a year, to be slightly more precise), but frankly there hasn’t been a whole lot of new stuff on the brutality front that’s really tripped my trigger of late. In fact, it’s only been within the past month or so that enough gory goodies have piled up to make it worth doing. The initial two installments of Oodles of Brutals were all about slam and brutal death metal, but this time around we’ll mostly be focusing on tech death. I’m pretty darn picky about this stuff, as there is an extremely fine line between mind-bending technicality and “Hey, look what we can do!” fret-wankery, so it’s a bit of a surprise that so much of this stuff has been able to grab me, but it’s a neck-snappingly pleasant one. Let’s dive in…
Chicago’s Avichi impressed the hell out of me with their 2011 release, The Devil’s Fractal, so much so that I interrogated guitarist/vocalist/mastermind Andrew Markuszewski at length about the album, and it came in just shy of making my top ten metal albums list for the year (which says more about what a strong year 2011 was for metal than it does about any short-comings on the album’s part). After three years of silence, Avichi is back with Catharsis Absolute, which sees Markuszewski continuing to refine his compelling approach to black metal.