We all know that Metal = Beer (John McEntee’s quote, not mine*), but have you ever thought how similar these two worlds actually are?
Most good beers give their best when fresh and unoxidized, and more importantly, give their best when just bottled and should be drunk within a few weeks. Like all those bands that lose their polish and energy after a demo, or a few albums. When beer has reached proper fermentation it is bottled, when a group has reached compositional maturity it starts writing its own pieces. The majority of the most interesting groups peaked within 5 years of their formation, just as most beers peaked within the first few weeks. Some, very rare ones, such as certain Belgian beers, withstand the passage of time even improving, but eventually they all come to a meager end. Some groups, even rarer, need a moment of refinement and after an album or two discover their true identity, somewhat like certain beers that need to mature a few years to reach the roundness of their flavors and fragrances. Like the beers, most groups could just follow the production specification with barley malt (or other grains) before getting into some bullshit with honey, flavorings, and herbs that in most cases don’t work. As with bands, most beers that try too hard suck dick. Making a beer with modern, experimental methods often serves only as an exercise in style especially if you don’t know their past just like groups that experiment the fuck out without having a solid identity yet. As one for beer that no one feels like criticizing, the concept also applies to top groups that are very clever and very trendy but underneath prove once again that the king is naked. As with beers, some groups that manage to find their own identity then overdo it, get caught up in an omnipotence complex and screw it up. Then there are the sours, which rediscover flavors forgotten for decades, but you have to be very good to make them critically and have a lot of taste as well as technique, but which then when the chemistry is right discover a niche of true admirers. Just like some groups. Just as with beers there are the periods when one or the other is in fashion, and they all try to do the same thing but few manage to make something that works without too much pretension, just as with musical genres, perhaps fishing randomly from the past.
Ultimately though, as with beers, everyone will appreciate whatever the fuck they like at home because a beer, like a record, is a moment of relaxation and evasion.
Gutted was one of the first record labels that released a bunch of 7″s of the first wave of Death Metal from its headquarters in Illinois back in the early 1990’s. In Italy, probably due to Contempo and Nosferatu, we saw most of these in stock in basically every catalog that circulated in those years, and don’t get me started on how many Internal Bleeding flyers we got in every envelope when tapetrading. A couple of catalog numbers were reused used when the label changed its name to Metal Merchants, although I never understood what happened to GR006 (if you know, please write me at email@example.com). I originally intended to take a photo of the records but my 7″s are not currently in the best condition in terms of sorting and cataloging. Maybe I’ll catch up later. Maybe.
The first 7″ that was released on Gutted let’s face it, was not that great. An unripe band that in its earlier form was trying to find out its identity and decided to do so with a couple of demos and this 7″ of Death Metal all chunks and bites, as they used to do in the early 90s where giving two chugs that today we would call “slam” was tantamount to being hard and heavy. Not so, this proto-slam borrowed from Hard Core Punk works 1% of the times, the rest being boring shit that in some years would lead to aberrations like Machine Head and co.
To say that I was surprised when I saw that Symphony of Grief was still around in 2022 would not be true, the band was excellent and I remember well at the time this 7″ came out that they were determined to continue, pursuing a contract with a label, on their musical path (they wrote me too even if I didn’t have a label at the time). I’m going from memory but it seems to me that Frank from Voices from the Darkside managed this band along with Immolation in the early ’90s, which should be enough to recognize that they were a band with the right numbers. But to find out that they have made ELEVEN albums, well that just left me dumbfounded. I haven’t felt like listening to the latest stuff because I have long since dropped that early curiosity for the more mellifluous Death Metal-related genres (imagine the enthusiasm I have for the post-O’Malley crap) although I think I’ll provide out of curiosity in the next few days.
Leaving behind Laceration/Symphony of Grief in Illinois, with Eternal Torment our own Gutted Records resumes a path begun with Laceration (badly) in the city where Suffocation, Pyrexia, Internal Bleeding really perfected that kind of Death Metal all elbow and spade strokes: New York. It’s not like it takes much to figure out where this band is coming from, because every stone-scraping instant calls out to NYDM, with that dirty “Human Waste”-type pitch. I grew bored of the evolution of this genre somewhere during the turn of the millennium, but I still like to listen to these bands sometimes. For the lovers of this more angular and squared breed of Death Metal, this is a band to rediscover.
I’m not going to lie I’m not a fan of Acheron, they have the kind of ideas and stylistic solutions that for some reason a great many people like but to me seem bafflingly banal, not to mention a singing style that goes nowhere. For being 1992 in Florida, though, this 7″ has a point. I think their best efforts came out much later in their career though and their latest album on Listenable was one of the best works they have done. Still, we are talking about that moment in history when Black Metal was changing its skin becoming a genre in its own right proproposed in those years, from a purely scholastic point of view these are recordings that should at least be known. These guys hated Christianity with quite some passion.
This 7″ was released on Metal Merchant but having still a code number starting with “GR” I thought I would include it here. In the beginning Funeral Nation was a Venom/Sodom-inspired band that somehow transitioned into the Professor K machine along with Rigor Mortis, a strange version of a particularly raw Thrash Metal that over the years has unfortunately lost some of that more primitive and barbaric vein typical of that genre, just like Sodom, to say. Yet here the band was at the top of its game, and the 7″ is particularly beautiful to have, ivory-white and with nursery-level illustrations. Probably one of my favorite recordings by Funeral Nation.
I talked about NYDM earlier when I mentioned Eternal Torment and here we are, talking about the masters of a genre that may not be my favorite but that until the arrival of Deeds of Flesh, which changed the game cards forever, stood in stark contrast to the bands going queer and the whole melodic goth strand that was slowly eating all extreme genres from within, from Black Metal to even the whole HC/Punk world with their internalist “emo” variants (no, not “that” emo, but distantly related in spirit). So here is a handful of songs that you could basically hear in different releases on different labels, chugging shit with their bossy NY accent. And their flyers were killer, I wish I could find some in my boxes one day to scan.
Another Metal Merchant release, filthy raw and cheesy like all the very early Meat Shits. Here we hear them in their less noisy version with shitty riffs and great vocals bringing it all together. Worth noting is the cover art by Rob Smits who had already done the 7″ Broken Hope, Excavation, etc. We were all collecting all Meat Shits releases back then, don’t be fooled by anyone who tells otherwise. They went a bit over the top with sensitive 2000-something sensibilities AH AH AH AH. But yeah, I think these vocals are so SICK for the genre. Great stuff as usual for all earlier Meat Shits releases.
I’ve probably never seen as many concerts in a row as I did the last couple of months (at least after 2004), which is especially strange because I’ve also begun to appreciate them again whereas for years the titanic battle between couch and pain in the ass in the car had always ended in favor of the former. To be fair, all the last few concerts I saw had a percentage of interesting bands above 50 percent, and at least something to see on stage in terms of set design and presence. The night of Saturday was among them, with an interesting surprise as well. Usual urban location with a handful of scattered headbangers, a low turnout but unfortunately it was to be expected.
I will not spend many words on the wild and ferocious horde that is VOMITMANTIK because they recently released the CD on the label (allow me an invitation to buy a copy though), except that it was the first time I had seen them live outside of a rehearsal room. The keyword definition here is crude barbarity. VomitmantiK is a rough embryo that draws its strength from being primitive, from that atavistic, primal ferocity that embodies the instincts of the woods, the totemic bloodlust of ferocious beasts that feed on carcasses and entrails. Hammer and nails: simple tools for channeling instinct into massive, direct songs. Powerful and raw, as the genre must be.
Here is where the evening took an unpredictable direction. I was imagining yet another Australian-like nostalgia product that might end up on the endless roster of photocopy bands on Iron Bonehead or Unspeakable Axe, but on the contrary, things went in a totally different direction. I had heard a few of their songs on the fly online in the past and was not particularly impressed, even after a quick review in the last few days to see if anything had changed.
Seeing HELLCRASH live, however, has been an entirely different matter. This group rocked the stage to fucking splinters. Even if my infatuation with thrash/speed metal wore off fast around 1992 when the genre had lost that raw polish that made albums by bands like Whiplash, Razor or Rigor Mortis timeless classics that still give me the sudden rush of twenty energy drinks, and honestly never came back despite various more or less pathetic revivals (don’t get me started on Earache bands). Yet, evidently, the magic in the genre is not gone forever because Hellcrash’s set was devastating. The arena that somewhat encapsulates all the obvious influences is Possessed and Venom but within the continuous shredding coexisted instances of Blood Feast, Exciter, Sadus, early Whiplash etc. It’s interesting to witness how simple things always work, at the end of the day you never get tired of eating bread after all. Square and precise, textbook stage presence, studs and leather, a drummer who crashed the skins like a poacher clubbing a baby seal, Becerra/Cronos-esque throaty vocals, spread-legged headbanging, and everything else that could serve the cause. If they pass through your area, don’t miss their show.
GOAT VOMIT NOISE, on the other hand, is a very strange beast. If the first two bands took you into the comfort zone, here we are talking about somebody that manages to put together a unique compositional style even if clearly inspired in spurts by this or that other sound, a bit like what happened in the days of NEFAS, when you knew exactly the language, but could not recognize the words. The concert was airless the whole time, there is not a moment of melody or breathing in the whole set. It’s a bit like walking through some post-apocalyptic, gray, lifeless urban scenery, gasping for some air or fresh water. I had listened to some interesting things online before, but let me say that after witnessing this set I now believe that speaking of Black Metal this is one of the ten most interesting bands we have in this country right now. Having a look at the performance on stage, once again, allowed me to box the view into a whole different perspective. Goat Vomit Noise’s world has no color or hope. It is a finite, bleak black granite wasteland where the only life left is armored and covered with fangs. It is indeed an experience to follow the monolithic, inescapable flow through GVN’s circles of lifeless hell. Excellent.
I took no pictures of Slaughter Messiah because I left the room halfway through the first song. Uninspired, boring, and derivative second-grade black/thrash with riffs so overcooked and overdone you could grate parmesan on them and cook everything in the oven the day after an hangover. This is the kind of band I was mentioning above, that adds nothing to the music world. Which was doubly weird since they were headliners too. All form, no meat. Nice packaging and merch, but apart from that, there was nothing substantial to sink your teeth into.
I’ve been working in IT most of my life and I am not extraneous to the concept of hacking which sounds better than “anally drilling out the reasons why some experiences do work while some others fail”. Yesterday’s concert was actually a big win for me and I will try to understand why did it work so well, and ultimately consider if this is the right dimension for post-pandemic shows.
My old friend Paolo from Coagulated rex bundled the ultimate Black Metal lineup for the night by sewing three top-tier barbwire unholy monstrosities with as much stage presence as infernal sound. Does this ring Black Metal, anyone?
The show was closed to random people, factually restricting the invitations to those actually interested in the show, which was partly a bureaucratic decision but nonetheless a strong message I could relate to, akin to what we did with the Nuclear the Abominations fest 2 years ago. The venue was small and clean, with astoundingly decent toilets, which is something I am graciously obsessed with: THANK you for letting me piss and shit without being hauled in a dimension out of Kapala-Tetragrammacide lyrics minus the aliens. Also, the beer served was quite good and not the usual shitty carbonated dishwasher water you get in bigger venues for ridiculous prices, which is another big thumb up.
On the downside, if I had to find a major flaw in the evening the overall sound was tragically confused. Given the chaotic nature of the music, the result was a giant wall of slurred noise in which basically you couldn’t understand half a shit. Which – at the end of the day – could have been far more tragic if the three bands had not been able to create that kind of suffocating atmosphere of combat shock: the fixed red lights, the stage set, the putrid energy reverberating in the air was really the perfect storm.
So was the shitty sound so much of a problem? Hell NO. Because Black Metal is never about the single riff, it’s about the overall EXPERIENCE. You listen to a Profanatica record, close your eyes and you’re taken to hell. But what about a show? Is it the same as listening to the same record at home? Nope. You go to a show to live some first-person experience and here I am answering myself from the latest grognard posts. Shows like the one I attended yesterday are the reason why shows DO actually still make sense today. It’s not just the music. You get a completely new dimension, like a 4-D cinema when you see something like that. You’re literally submerged in the music, INTO the songs. Eyes, ears, and skin, all harmonically convey the same message. It’s being alive and part of what’s going on in the moment. So no, the sound, shitty as it was, was just a part of the whole.
The second flaw one could point out is that everybody already knew each other, so it was basically a high-school meeting with band shirts. But is that a problem? Did the decision of a private party actually bar anyone from attending? Did id lack in (AH AH AH) “Inclusivity”? Well, you bet it did, ah ah. And you know what? Fuck it! Not because we’re elite, but because selecting dedicated people led to a perfectly balanced night where everyone was accountable for himself and his friends. Which is cool, because it did not really actually bar anybody to come, it just put some first-level funneling into the process. The people that were invited in turn consciously invited other people, there was a first-level connection with at least someone in the show, and I am certain if someone new to this music wanted to attend, nobody would have raised any objections. Despite what one might think, this is an open, welcoming environment, if you’re not a cunt. So no, this second objection doesn’t really work either.
Yesterday’s show was like being catapulted into Jacob’s Ladder under Pervitin.
Uraniavore Goatphago have been the first shock of the horrors of war when adrenaline first hits the brain. VomitVulva were the slaughter in the trenches, where shrapnel made your friends’ limbs fly and covered you in guts. Sadomortuary took the souls of the dead to hell, while the bodies afield were eaten by mutant Armageddon cannibals.
First time I see the awesome Uraniavore Goatphago and I was blown away bt the sheer static barbarity this duo manages to compress on stage. It’s the kind of brutal primitive violence of late Deranged turned black by the Blasphemachine. Horrific noise wall vibrating destruction.
VomitVulva were the perfect choice to jump from the solid berm of the Uraniavore Goatphago directly into the thick of the carnage. The stage was filled with something that looked more like a narcos squad than a group of musicians. A chaotic mass of riffs, profanity, STDs, and shitty booze. This is what you need when you have to tie together the show.
And then, it was Sadomortuary again. The effluvia of the crypt solidified on stage like Ossorio’s blind dead at dawn. If we take away the new hipster nuance of the term “ritualistic”, it would be the right one to describe the interminable minutes of inevitable hooded DEATH that were punctuated by the band that in my opinion best represents Black Metal in this country today.
I don’t have much more to add, I hope that this evening will set a school and that there may be more such evenings. If so, I will gladly go back and get my bloated old ass out of the door.
A collaboration between two of the most stalwart Italian labels who in spite of everything and inexplicably manage to maintain enthusiasm for such an unprofitable genre. Despise the Sun from the capital and Terror from Hell from the northwest join forces for these two discographies (only on CD I think, for the moment) of two bands that may be little known outside the underground environment of the early 90s.
Iconoclast came from my hometown and among their various releases include a 7″ on the famous Drowned records. Inspired by the Greek and English scene of the time, they played a type of Death Metal with vaguely melodic but malevolent overtones.
On Funeral Oration there would be no need for an introduction, Nicola Curry’s of Metal Destruction zone appear on legendary covers from the time and his fanzine is still a legend for those like me who devoured every issue. He’s still active as an artist today, by the way.
Sublime rotting sewer sludge-slimy grind, wherewith grind I use the term in its most ancient of acceptions, there is an eerie echoing vibrancy in these tracks that pair obscenely with the slightly out of place rehearsal sound texture. What it doesn’t deliver in massiveness it does in sheer nightmarish opera. Top release where sound and aesthetics fuse in the perfect balance of true Death Metal with the due doses of horror, garageish noise, and the sensation of writhing maggots writhing under your tongue. Few tracks released so far but they have a solid base.
I don’t know how they managed to do it but this recording totally sounds like a demo from 1992 and I mean it as a compliment. It has some of the chaotic roughness of early Deranged, Goreaphobia and a hint of Autopsy morbidity in properly placed corners. I also love the shitty logo here. All in all this is a complete win for me. Top notch band, deserve proper release soon.
Little precious from Despise the Sun records, a limited batch of fifty musicassettes brought this band from the ancient cracks of Rome’s cemeteries to its postapocalyptic unlife. Certainly nothing new or excessively intense for a genre that relies on sheer savagery (check Totalitarian or Intolerant for that), but definitely an interesting listen with its obsessive barrage riffs, multi-layered vocal blasphemies and so on.
CONTINUUM OF XUL
While I definitely support the idea of playing that nowadays rare typology of infernal themed Death Metal I could never force myself to like the previous project called Hellish God which I just found completely aimless and without a clear direction, you know, the John Travolta meme. You have plenty of south american bands conceptually closer to this approach that unleash the powers of Hell upon Earth that you could prefer over that band.
Yet, things have clearly improved here with the name change and while I still have the feeling that the music convolutes endlessly in spirals, without ever bursting out, after a few listen I realized this might actually be a conscious approach from the band: to recursively wind spires upon spires of demonic hordes rending themselves to pieces in a spiral of bottomless sin. This is no easy listening, even compared to other bands in this list that raised the bar of songwriting sometimes bordering on wanking.
I never review variants of grindcore that don’t deal strictly with horror of death or better yet gore ♥ on this fanzine, but Jesus fucking Christ, this stuff is AMAZING. These guys have all the nuclear aggressivity of the original second world grindcore that labels such as Rotthenness or Grinding Madness used to harvest back in early ’90. Top distorted bass backed grindcore of the finest quality, highly recommended. By the way I appreciated the fact that their logo makes the Congenital Deformities one look like Unleashed meet Dark Throne. Total favela illiteracy here! Thumbs up.
An interesting new band that plays really good Brutal Death Metal with a general approach that is more organic and has more “feeling” than the average mid-eastern product that always sticks to the same sound, same lyrics, and same artwork since Amputated Vein crystallized the whole brutal guido slam aesthetics. Cinerarium does have its share of trademark Enmity-like squeaks but the final product is more complete with a big dose of darker, tighter ideas. It is an evolutionary pattern similar to that followed by countrymates Blasphemer of late, for instance, and I like it. Part Liturgy part Krisiun part Reincarnacion, the band gors for the throat and comes out with an overall impressive product that however creaks violently on the slower parts. There is a whole riff at the end of the song below that makes me want to turn off the computer (I admit it, I am not reviewing records when I make these reports). They should really get rid of the slow-mid tempos and go full speed all the time because they really perform very well there (and the slow tempos suck badly, don’t do that).
Interesting if somewhat vanilla Death Metal with a shitload of influences that range from old Bolt Thrower to old Gorefest, basically a salad of Death Metal from the early 90’s glued together with a strong dose of dark heaviness. Initially the sound was way more on the early swedish side but turned darker and darker over time. Now we are left with a genuine breed of Death Metal that is basically a sum of everything that was morbid and obscure in the beginning of the genre.
When I heard the few first minutes of Hadit on their bandcamp page I told msyelf “I bet either this band is from Rome, or they signed to Terror from Hell, or both.” For some reason our capital seems to have become a catalyst for the most complex exercises of Death Metal with a brain, and TFH just seems to have an affair with bands that defiantly pierce the membranous barriers of reality with hints of ancient esotericism.
Obsessively melodramatic and hypercomplex long songs that are a cosmogonal voyage through infinity riding a million riffs of parallelly eerie and brutal Death Metal. They have some hints of that bardo method-o’malley hipsterism I generally hate when overly intellectual writing overcomes the primal savagery and horror that this genre is made for, but somehow I liked it anyway. Shall I start trimming my beard, chop off my fingers in a Zoidberg fashion and start yelling about inclusivity in metal?
Hell, how did I underestimate this band! I reviewed a tape not too long ago (for this zine standards) and now it feels as if I am listening this recording for the first time. Honestly this stuff is even better that I recalled. The finnoscandian inspiration is clear and the massive, crunchy, sound is accurately reconstructed assembling among the best of elements of the genre. All riffs properly placed, with long, breathtaking incursions in the depths of space and sick mind trip, more akin to Krypts than Hadit (above), however.
Whoah! Three full-lengths already, really? I heard this band name before but always forgot to check them out. They play good solid Black Metal with some structure and attention to sound, yet nothing particularly memorable for a genre that is supposed to live upon its filth and hateful spirit. Nothing wrong here but hardly sucks you in.
Huronian decided to take the hard path (again) of playing a genre that basically everyone misinterpreted and was initially thrashed by precursors like Kaamos and definitely obliterated by the new renaissance of Swedish Death Metal. Huronian plays what could be properly called “melodic Death Metal” in which however the “melodies” are not necessarily soft and mellow – think Unanimated, Eucharist and so on. The world might not be still interested in a genre that was overexploited years ago but at the same time, who the hell still understand how things work nowadays? Their music is complex, extremely well written, vicious and yet has that thin veil of harmonies that makes everything work properly. Not a band I would sign on Nuclear Abominations, but do yourself a favor and check them out because close to nobody play this styule anymore!
Spiky, acidic Death Metal with a strong militaristic vibe inspired by the post Conqueror / Order From Chaos movement that over recent years produced bands like Diocletian. Order of the Iron Fist plays everything in line with expectations, including the caliginous recording typical of other eastern noisier experiments like RotUGF or Tsalal. I really like this newer branch of Death which someone defines as Black/Death, although I can’t really see what “black” one could find here besides the vocals, which to be honest, I find here plain and lacking punch, and yet I don’t think a vocal style could strictly define either genres, I think Black Metal in general is more about the feeling of “something else, something wrong, something from the other side creeping in”. Whatever. This is a good band even though it doesn’t really deliver 100% yet in my opinion, the path they chose is narrow and inhabited by generally top level bands already. I would buy their new stuff when it’s out but I expected to be blown away, I didn’.t.
This is music that makes you hate yourself. BUY IT.
Nuclear Wargod recently released an advance tape on Despise the Sun and they fucking shred. They’re on the Blasphemy side of gasmasked Black Metal (is that, think about it honestly, a fault?). They completely lose it when the slow down but if they manage to fix it this is a band that really would deserve a full-length release. Suffocating and miasmic, this is a band that drags you across a nuclear wasteland with sore-covered cannibal mutant priests of Satan. Not surprisingly they have some links to Sadomortuary and they actually play a very similar game. Can’t wait to hear more.
This is a one man band that hardly would fit a list on this fanzine you’re reading in normal times, but I found this solo project honestly flawless. It’s just a bunch of slow riffs and guttural vocals the likes we’ve straight out heard a million times recently (last 10 years or so when Doom Death has become a thing again), but you can actually feel her agony. In total fairness I have found this EP, recorded during the first wave of this world pandemic, perfectly fitting the mood of this period and impeccably inspired. Manly nod to this good job.
Ultra down tuned, raspy and guttural Death Metal with that obsessive, coagulated sound and the fragrance of bloodspattered torture cellars. Hearing tenebro Today gives me today more or less the same feeling of hearing “Butchered at Birth” in 1992, only gore – no air. They have a repetitiveness that borders on drone sometimes, like a slowed down version of Deranged played 18 rpm, which is great but a tidbit too still for me to listen for too long. Natheless, I’d definitely place their recordings in a good position if I had to dub a compilation tape of italian bands in 2021.
Interesting liquid-amphibian goregrind with lyrics about volcanoes. I am generally not particularly attracted by such liberal SJW deviations from the sacred conservative duties of splatter and pathology, but gorenoise has been lacking a bit in this country and to be honest this one is also of superior level compared to a gazillion other bedroom projects. To his credit, the themes are actually about destruction and consequence of horrible burns and death by lava.
Solo project of Hornhammer, not the most intense of releases but worth mentioning in this report for several honest and interesting ideas. There is some Nifelheim inspiration here and with a proper line up there could be a real interesting follow up.
I am afraid this is a band that hasn’t aged well, probably because the field of Brutal Death Metal is unlike its older brother, extremely sensible to the passing of years, when drummers blast harder, riffs get ever more complex, and sound production crispier and heavier. I am sad to say don’t like this new incarnation of Bastard Saints and believe me I have known these guys for 25 years now – listening to these new tracks give me the same yet opposite feeling I had when listening to “Hanged For A Blessed Masturbation”: unripe for its time.
Might be the lack of their trademark guitarwork that kinda glued every piece of this madman hallucination together, and it certainly doesn’t help that some of the tracks are in Italian, including the terrible name they opted for. Either way this time the music doesn’t click for me. The Brutal Death Metal soul is here predominant and yet not as brutal as it used to be when it was just an opaque ligament to connect all fragments of a sick psyche together. The drumming is overly martial and mechanically cyclical and cold but that was a problem I had with latest Broken Hope records too so maybe it’s just me. That said it’s a good band, really, just not special as Bastard Saints used to be.
I knew I was hearing right even beneath the folds of inexperience when I first heard Mortorium. The first demo (review soon, damn! I still need to review the first one and I already got the second ahah, that’s what makes you understand how slow you have become) was not one of face paling blasphemy, but things have improved ten times so far.
They sadly give up to some mellow Black Metal clichès at times (in the second half of “Bleeding Wounds” – I have to skip the track becouse I cannot stand it), but mostly they’re good at composing brutal Black Metal with throat ripping roaring vocals. The singer knows his due, sometimes reminds me of Funeral Mist‘s Arioch (now Marduk I think, not sure) , in which the vocal range is broad, but always evil. You get 12 minutes in all on this demo, but the material is pretty intense, I am quite happy we have bands like this in Italy after all the incredible mass of shit I had to hear in the ’90’s (and sadly today still going strong with all that shit about witches and trolls). Bands like this and Mefitic or The Krushers make me hope for a better future of burned down churches and Satan-centered Black Metal. Mortorium plays straight ahead Black Metal with raw structures, slightly Swedish riffing and a good balance of South American madness..
I am not a fan of war imagery, so I’ll skip comments on the machine gun in the back. But the rest of the demo follows the big principles of “good demo design”: no advanced Photoshop tricks, just a b/w cover with gothic fonts and a picture of Padre Pio (which is the whore in question) with an upside down cross on his forehead, ahah!
Cut the second song at 1.50 and we’d have a killer demo!