Hybrid - Beyond Undeniable Entropy

BAND: HYBRID (spa) TITLE: Beyond Undeniable Entropy FORMAT/YEAR: MCD 2006 LABEL: Dead Wrong Records RATING: 8 AUTHOR: Pablo Argente (08/2006) Views: 365 from 2006-08-28

The debut album of this four piece from Madrid is composed of six discharges of chaotic and mathematic riffs, influenced by brutal death metal and mathcore/metal or noisecore, mixing (in honor of their name) extreme brutality with flawless technique. Here you'll find songs with complex and progressive structures, with even more complex rythms and guitar riffs that go beyond logics, and a wide variety of vocal registers (from growlings to clean vocals and more thrash metal screams), making of them another instrument. You'll also find some epic or emotive parts in the vein of good old Fear Factory masterpiece Demanufacture, in Throne of the Necronaut o Sleep of the Defeated. In short, a good example of chaotic metal, for fans of Meshuggah, Textures, Cephalic Carnage and that wave of Relapse style bands. The bad thing is that if you don't like this style, you may get crazy. But perhaps that's what this record was intended for...

taken from xtreemmusic.com

(MTCAT028) Hybrid - Beyond Undeniable Entropy

Spanish death math metal core (whatever) with origins in other bands from spanish metal scene such as Wormed, AKOD, Human Mincer or One LastWord. Chaos, brutality and intensity in this first debut EP that will make your teeth grind with a huge diversity of styles (Messugah, Napalm Death, Breach, Accused) obtained from the different roots of band members.
The band has finished a new their long lenght CD titled "The 8th plague" and they are looking for a label. If you like this EP you should listen an advance song from the new album at their official myspace.

Tracklist
Ave Phoenix (mp3)
Sleep Of The Defeated (mp3)
Sun Burnt (mp3)
Insomnia (mp3)
Growing Misanthropy (mp3)
Throne Of The Necronaut (mp3)

Download the whole album (ZIP)

This work is under a Attribution-Noncommercial-No Derivative Works CC 3.0
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NOTE: This work is published under permission of the band and only for promotional purposes.

Hybrid on Myspace

taken from: http://mastertoaster.blogspot.com/

In Flames - A Sense Of Purpose

CD Review: IN FLAMES - A Sense of Purpose








Posted by crustcake on
February 25th, 2008 in CD Reviews

Tags: No Tags.

In Flames are nothing if not consistent. They’ve made virtually the same album four times in a row since 2002, including their upcoming full-length, A Sense of Purpose.

A Sense of Purpose is trademark In Flames– catchy melodic riffs abound, Anders Fridén’s signature rasp is in full form, and electronic beeps, bleeps, and synth pads flesh out that unmistakable In Flames sound. The fist-raising anthems are here, but we’ve heard them all before.

Sure, for long-time In Flames devotees, living album-to-album like junkies waiting for their next fix, ‘A Sense of Purpose’ will be a welcome and familiar dose of melodic industrial death metal. The rest of us? We’ll likely just dust off our old copies of Whoracle or Colony.

It’s a shame really, because one gets the sense that they’re capable of so much more. Sure, the album they keep making over and over again is a good album, but In Flames may have missed an opportunity to capitalize on their growing popularity by pushing the envelope, bringing to the table something fresh, innovative, even potentially mind-blowing.

Or perhaps their every move is precisely calculated– perhaps Fridén and crew are doing exactly what they mean to be doing. After all, artistic criticisms aside, In Flames are looking rather good in the numbers department. The band has been climbing the Billboard charts lately– 2004’s Soundtrack to Your Escape peaked at #145 and their last effort, Come Clarity, entered the charts at #58.

Add to this their recent move in the US from the tiny Ferret label to one of the world’s largest independent labels, Koch (boasting distribution through Universal Music Group) as well as continued support from long-time home Nuclear Blast, and A Sense of Purpose certainly seems poised to be In Flames’ most successful outing to date.

6.5/10

In Flames on MySpace

Koch Records

Nuclear Blast


The Quiet Place

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Bloodbath - Unblessing The Purity

Bloodbath - Unblessing The Purity

Origin: Sweden
Genre: Death Metal
Year: 2008

Tracklist:

1. Basting The Virginborn
2. Weak Aside
3. Sick Salvation
4. Mouth Of Empty Praise

Mike is back on vocals :)

--

Bloodbath is finally back to put elite death metal on the map.
The brand new line-up is shortly to be officially revealed,
but has already paved way for a band hungrier than ever to
bathe in the blood of a new recording.
So in early June, we’ll once again enter Fascination Street
studios (same place Nightmares Made Flesh was done) to cut
a couple of new songs. In good tradition, each member will
contribute to the writing with one song each.
The final result will be unleashed in the form of a mini-cd
scheduled for release in late summer.
This affair will be self-financed and released only by Bloodbath
in a limited edition. Info on how to obtain your copy will
follow with the announcement of the exact release date.
So stay tuned and get ready… because Bloodbath is back to DO-MI-NATE!

--

So the time has come for Bloodbath to once again poison the
scene with a contagious doze of über brutal death metal.
An old acquaitance in this zombified bloodline has once
again re-visited his old home. We can now announce that
the vocalist on the new mini-cd is none other than
Mikael Åkerfeldt courtesy of Opeth.

Second deathster to join the elite is Mr Per ‘Sodomizer’ Eriksson
(ex-21 Lucifers, ex-Genocrush Ferox). Sodomizer’s brutal
death metal songwriting approach as well as guitar shredding
is a highly welcomed element in the legacy of Bloodbath.

--

http://www.bloodbath.biz
http://www.snappermusic.com/Labels/Peaceville/Artists/Bloodbath/item11910?startPos

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Layout by: Damnation Designs

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Zimmer's Hole - When You Were Shouting At the Devil...We Were In League With Satan

Official Website

There's a HUGE chance that a lot of metal albums that parody what makes metal, well, metal will get shelved away after a few chuckles here and there. Crotchduster's 'Big Fat Box of Shit' is one such example of ample amounts of ingenuity in song composition (no one can ever try to convince me that 'Mammal Sauce' wasn't an awesome song outside the merits of its jokes, relevant as they were). But frankly, I haven't listened to 'Big Fat Box of Shit' since its release in 2004, perhaps due to the constant influx of new material to check out, or maybe because the parody eventually dried out.

Zimmer's Hole is one such band that, like Crotchduster, parodies the very things that we find oh-so-metal and don't question their reasoning for being in our culture. Actually, I take that back - I know of plenty of metalheads that have questioned the Mötley Crüe/glam rock scene's involvement in the development of metal nowadays. Anyways, Zimmer's Hole is a bit more...vocal about it, you could say. And when I say vocal, boy, do I mean VOCAL.

Vocalist Chris 'The Heathen' Valagao can certainly tear up both the highs of power metal vocalists and the low grunts of death metal (though he tends to stay in the former range for most of the album), and does it all with an utterly unshakable presence behind the mic. Whether you're into Winger or Twisted Sister or any of those glam guys, Valagao is very convincing in getting you into his camp of glam-hating with sing-along lines like the classics, "glam ROCK! can suck my COCK!" and "Exodus was fucking right - all the posers must DIE!" And backed by no less than everyone other than Devin Townsend from Strapping Young Lad is pretty metal all the way around (though Devin handled vocal production).

The ensemble, comprised of guitarist Jed Simon (whose 2003 Tenet Demo was a flurry of metal madness in my book), bassist Byron Stroud (yes, the guy who also works with Fear Factory), and skinsman Gene 'Atomic Clock' Hoglan (who's been in, like, everything) mixes things up between straight ahead thrash, malicious death metal, and bright, catchy power metal licks, littered with copious amounts of vulgarity, masculinity, and in its attempts to joke their way using the same techniques and sounds they aim to parody, they actually pull off a decent metal album. Mind, most of the better moments are those of the power metal variety, but there's some great death metal fare on here (the title track marries both elements quite nicely).

Mind, there are a couple songs on here that will immediately show their age within weeks following the release ('The Vowel Song,' featuring Nathan Explosion of famed virtual-DM band Dethklok, will get spins only when you want to impress friends that loathe death metal but dig Metalocalypse). But for a fun, energetic, and diverse set of songs played with conviction (if that has any weight nowadays), Zimmer's Hole has delivered something pretty damn enjoyable. For the moment, they indeed rule the fucking land.

TRACK LISTING:

1/ WHEN YOU WERE SHOUTING AT THE DEVIL...WE WERE IN LEAGUE WITH SATAN

2/ WE RULE THE FUCKING LAND

3/ THE FLIGHT OF THE KNIGHT BAT

4/ 1312

5/ DEVIL'S MOUTH

6/ THE VOWEL SONG

7/ FISTA CORPS

8/ ANONYMOUS ESOPHAGUS

9/ ALRIGHT

10/ HAIR DOESN'T GROW ON STEEL

11/ WHAT'S MY NAME...EVIL!

With a wicked sense of humor and an undying love for true metal, guitarist Jed Simon (Tenet, SYL) and bassist Byron Stroud (Fear Factory, SYL) pay homage to the genre by celebrating its eccentricities in their Canadian quartet, ZIMMERS HOLE. Rounded out by their certifiable vocalist The Heathen and long-time biggest fan Gene Hoglan (Dethklok, SYL) on drums, THE HOLE, as they are affectionately known by their loyal legion of miscreant followers, will reach worldwide audiences for the first time with their third full-length, When You Were Shouting At the Devil, We Were In League With Satan.

Born in 1991, ZIMMERS HOLE has been Jed and Byrons 'significant other' band when not busy with Strapping Young Lad or Fear Factory. In the beginning, it was always a way of spending the weekend...the boys used to get together, drink far too much, and write absurd songs.

When asked by a friend who ran a local club if they knew of any bands that could fill a spot left vacant by a cancellation, they promptly formed their own band to fill the Hole...pun intended.

Over the first few years, there were enough smashed TV's, gunpowder burns and exploded road-kill carcasses to fill a small house. Eventually, the 6 foot exploding styrofoam crosses were retired, the TV's were left to implode by themselves, the 45 gallon drum of dry ice was abandoned, road kill was left to it's own devices and the guys started writing seriously...well, sort of. In 1996, Devin Townsend attended one of the shows, and after being pummeled by exploding pumpkins(it was Halloween, after all), he said that THE HOLE needed to do an album, and that he would produce it. That first album was Bound By Fire, released through HevyDevy in 96. A frenzied offering of metal on every level, delivered with all the toilet humor you could ask for.

The next album was Legion of Flames, released in 2002 through Virusworx. More refined but no less than silly than it's predecessor, ZH toured like crazy for this album which lelped lay the groundwork for the new release. Although THE HOLE was dug before the formation of Strapping Young Lad, this is the first time Simon and Stroud have had the time to devote all their attention to the band, resulting in a more focused, streamlined effort. The inherent insanity in a project like THE HOLE is still there, but traditional metal influences abound in the epic, fist-pumping feel of songs like “We Rule The Fucking Land” and “Flight of the Knight Bat.” The crisp but cutting production clearly places 'When You Were Shouting' on the modern side of things but Simon’s thrashy riffs and Hoglan’s blistering pace give the album a timeless and dangerous edge. This is a record for those true metal fans hungry for something that’s going to get their heart pumping and head banging. After all, THE HOLE are as serious about having fun as they are about keeping the integrity of metal intact.

Between bands that wear irony on their sleeves with pride, suburban pseudo-punks with swoopy haircuts and tough-guy chumps with barbed-wire tattoos, it’s hard to know where to look for honest evil anymore. Fortunately, and ironically enough, THE HOLE fill this gap with enough raging testosterone to make Barry Bonds jealous, and with the infamous screamer Devin Townsend co-producing, it’s easy to understand why their third album might as well be dubbed the Devil’s Soundtrack.

With a new album in the bag and a newly intense focus, THE HOLE are looking forward to hitting the road as a collective on national tours for the first time.

The time has come for those in league with Satan to gather and prepare for the arrival of the unholy ZIMMERS HOLE.

MYSPACE

DRACONIAN - ARCANE RAIN FELL

Napalm Records

draconian.se

Recorded and produced at Studio Underground in September 2004 by Pelle Saether and Draconian.

Musical compositions created by Johan Ericson. Lyrical concept and achievements by Anders Jacobsson and Erik Arvidsson, except for Expostulation, written by Ryan Henry. Vocal arrangements by Anders Jacobsson and Johan Ericson. All songs arranged by Johan Ericson and Draconian.

ARCANE RAIN FELL
Draconian

review by Octavio Ramos Jr

"And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him."
- Revelation chapter 12:9

Sweden's Draconian more the lives up to its name. Tapping into two of the most melancholic of genres, doom-death and gothic metal, Draconian releases its second dirge, titled Arcane Rain Fell. Slow, despondent, and gothic are words that come close to describing the tapestry of music the band weaves, although none of these words, or any amalgamation thereof, can truly capture the essence of this band's unique sound. Arcane Rain Fell is a concept album that deals with fallen angels.

Arcane Rain Fell begins with A Scenery Of Loss, which begins with a gentle rainstorm. Doom metal rears is ugly head as the thick, fret-heavy guitars of Johan Ericson and Magnus Bergstrom resonate from the speakers while the death metal growls of Anders Jacobsson take centre stage. As the song builds, however, it also softens, with Jacobsson using a narrative voice to recite poetry while keyboardist Andreas Karlsson creates an atmospheric screen of sound. And then come the soprano vocals of Lisa Johansson, and suddenly there are visions of Theatre Of Tragedy in my mind. Not to worry, though, as Draconian creates its own distinct and enthralling sound. Draconian's blend of monstrous guitar riffs with softer passages (as well as poetic interludes) is powerful emotionally and is sure to move even the most jaded of listeners.

Daylight Misery showcases the subtle but effective basswork of Jesper Stolpe and features various vocal styles, from Jacobsson's death metal growls and his monotone singing voice to his narrative tone and Johansson's fairy-like croons. The Apostasy Canticle (an unholy song that tells how angels renounced God) begins with a mournful guitar riff that through the course of the song begins to seethe while Jerry Torstensson crafts some dense but sparse percussion. The shortest track comes next. At little more than three minutes (most of the songs are long than six, with the last one clocking at more than 15), Expostulation is the apex of the album, with Jacobsson setting down Satan's underlying ambitions while the musical background ebbs and flows like a primordial sea bathed with the blood of Satan's minions.

Heaven Laid In Tears serves as a counterpoint to the darkness that has come before. Thus, the music begins gently, showcasing Jacobsson's serene vocals before Jacobsson's growls scream in anguish. Saturated with sadness, this song captures the pain and misery suffered by Satan as his own arrogance casts him into the pit, where he is to rule until the time of judgement.

The Abhorrent Rays turns up the harsher elements of doom-death, with the guitars stepping to the forefront and grinding out an array of sizzling riffs while the percussion sets a frenetic pace. The bass reverberates in the background, as do the keyboards, and as the song progresses the band shifts the pace back and forth, going from catchier, almost darkwave-influenced interludes to harsher, death metal-driven intervals. The Everlasting Scar switched gears again. This time, Draconian taps into gothic metal, with Jacobsson taking the lead on vocals.

The masterpiece of Arcane Rain Fell is the 15-minute opus Death, Come Near Me. The song begins with some eerie keyboards, which are followed by some mammoth guitar riffs and rumbling percussion. Beauty and the beast vocals dominate as the song churns along, the guitars and keys falling into the background. Jacobsson also recites more of his poignant poetry and the guitars exchange solos. The track ends with a piano-driven interlude designed to tug at those heartstrings, and damn if it doesn't work.

Mentally and emotionally draining, Arcane Rain Fell is a must-have release if you listen to doom and gothic metal. Fans of Solitude Aeturnus, Candlemass, early Anathema and Opeth, and My Dying Bride will relish Draconian's approach. You will not listen to Draconian: you will experience it.

TAKEN FROM: http://www.soundchecks.co.uk/

MALEVOLENT CREATION - DOOMSDAY X

Malevolent Creation: Doomsday X

Ten albums into their career, New York’s Malevolent Creation storm back with their latest extreme metal platter Doomsday X, a smoldering, brutal display of death metal ferocity. Owing as much to the early 90’s NY death metal scene as well as the Gothenburg melodic metal uprising of the same period, Malevolent Creation have been churning out the goods since 1991, and Doomsday X continues that fine tradition.

Clocking in at nearly 50 minutes, Doomsday X features plenty of brutal guitar riffs and lead solos from Jon Rubin & Phil Fasciana, and effective growls from lead singer Brett Hoffmann. Add in the bombastic and relentless rhythm attack from bassist Jason Blachowicz and drummer Dave Culross, and you have a pulverizing ensemble ready to pierce your juggular and draw all of your life’s blood. Tunes like “Deliver My Enemy”, “Culture of Doubt”, and “Buried in a Nameless Grave” hit hard like a combination of early Slayer, Nile, and Immolation, featuring raging, technical riffs, pounding drum blasts, and scorching death metal growls. “Dawn of Defeat” is a barnburner of a track, with thick, beefy death metal rumbles from the guitar tandem and overpowering blast beats from Culross, while “Strength in Numbers” is just a relentless assault on the senses, as the band rages from start to finish with plenty of brutality and technical death metal skill.

If you haven’t yet discovered Malevolent Creation on their previous ten releases, first of all, shame on you, and second, stop waiting and pick up their latest slab of molten death metal, Doomsday X. It’s killer extreme metal no matter what way you slice it-check it out.

Track Listing

1. Cauterized
2. Culture of Doubt
3. Deliver My Enemy
4. Archaic
5. Buried in a Nameless Grave
6. Dawn of Defeat
7. Prelude to Doomsday
8. Upon Their Cross
9. Strength in Numbers
10. Hollowed
11. Unleash Hell
12. Bio-Terror

Added: July 25th 2007
Reviewer: Pete Pardo
Score:
Related Link: Band Website

Scar Symmetry - Symmetric In Design

Scar Symmetry - Symmetric In Design (7,5/10) - Sweden - 2005

Genre: Death Metal Label: Metal Blade Records Playing time: 48:43 Band homepage: Scar Symmetry Tracklist: Chaosweaver 2012 – The Demise Of The 5th Sun Dominion Underneath The Surface Reborn >mp3 Veil Of Illusion Obscure Alliance Hybrid Cult Orchestrate The Infinite Detach From The Outcome Seeds Of Rebellion The Eleventh Sphere

I’ve thought about this before and this time I have to speak my mind. There’s something in the blood of Swedish people, some kind of creative cell mass making everything run smoother. The thought has been triggered more than once, if there’s a scene that’s full bodied and devoted to hard work, it’s the one located in Sweden, listen to SCAR SYMMETRY and ask the members of the band if they have enough bands running. Every dude in this band has like three main bands, I’m not counting small fun projects here and SCAR SYMMETRY is another branch in the tree that never seems to stop growing. The guys might have formed some months back and yet it’s as if they made a wish, waved their magic wands and had their desires realised, they sound like any big player dwelling in the poppier regions on Melodic Death Metal, so yes, there has to be something unique flowing in the veins of these people, don’t even bother telling me otherwise! Mixed superbly by lead and rhythm guitarist Jonas Kjellgren (otherwise known for his shouting in CARNAL FORGE) at his Black Lounge Studio, this debut platter titled “Symmetric In Design” has already been compared to SOILWORK’s past and present (and future?) sound. I don’t think any of the guys would smash your face for feeling this way, they’d probably buy you a beer in celebration of your witty observation. I can see some truth to the aforementioned apprenticeship, some of the tracks are embarrassingly close to their peers from Helsingfors, especially solos, lead melodies, riffs, everything guitarwise is clad in Wichers persona and then there’s yesterday’s winning formula of prominent keyboard fingering and emotional clean vocals mixed with the brutal growls and harsh screaming paving the way for more listeners than just the loyal fan of second wave Death and Thrash Metal. There’s no question about it, the good ol’ blueprint of how to make a good Modern Melodic Extreme Metal record has been put to use, the main difference lies in the pace, I feel that S.S. are more energised showing the same rebellious spirit the Soilworkers had invoked on “The Chainheart Machine” and “A Predator’s Portrait”. Newbies will praise the album up to the high heavens, whereas I, a self proclaimed semi expert on the genre, will stay on middle ground. If you look past the fact that they’re not doing anything new here and take comfort in the terminal drive, brilliant musicianship and catchy song writing, you’ll still get a good album. Believe me your soul will head bang wholeheartedly to infectious killers like “Reborn”, “Chaosweaver”, “2012 – The Demise Of The 5th Sun” (shredding double bass drumming), “Dominion”, “Detach From The Outcome” (features some awesome growling and masturbating solo work) and “Veil Of Illusion” while your mind commands you to raise your trusty air guitar when the chunky riffs tear through the speakers. Not trying to emulate the high quality and seemingly effortless melodic singing of Christian Älvestam is where the real test’s at, the harmonies this guy can manifest are some of the catchiest the genre will ever see in this decade thus revealing the band’s true ace. Vocally Älvestam is versatile (sometimes covered with simple effects) and very talented. There’s a good balance in his approach, he combines the best of both worlds belching out visceral screams and demonised growls, then suddenly turns into Prince Charming when using his clear voice and he uses those a lot, not just in the formulaic choruses. Does this have the potential of stomping the shit out of you know who? Well, we’ll just have to wait for “The Stabbing Drama” and see then who will stand tall won’t we? No, seriously, the success is limited at this point, they’ve got some bright moments but with the rush of getting this album out, a few too many average songs (what’s a mutant hard rocking ballad like “Obscure Alliance” doing on this album?) didn’t stick out and managed to damage the overall quality and S.S. is just one of many free time studio projects at the moment, who says they’re even gonna do another one? I found myself rocking to one half of the album while the other clearly represented a rushed song writing session, but so far so good I guess, it’s causing ripples in the waters. (Online March 28, 2005) taken from http://www.metal-observer.com

ANGTORIA - GOD HAS A PLANE FOR US

Angtoria - God Has A Plan for Us All - Video

Añadir a Mi perfil |

Standard jewel case cover

Limited edition digi pack cover

Info

Title: God Has A Plan For Us All Released: 2006 Record Label: Listenable Records Album identity: Posh 085

Tracks

1. The awakening Music: Tommy Rehn 2. I´m Calling Music: Chris Rehn and Tommy Rehn Lyrics: Sarah Jezebel Deva 3. God has a plan for us all >> mp3 sample (1:00 min) Music: Chris Rehn and Tommy Rehn Lyrics: Sarah Jezebel Deva 4. Suicide on my mind Music: Chris Rehn Lyrics: Sarah Jezebel Deva 5. Deity of disgust Music: Tommy Rehn and Chris Rehn Lyrics: Sarah Jezebel Deva 6. The Addiction Music: Chris Rehn Lyrics: Sarah Jezebel Deva 7. Six feet under´s not deep enough >> mp3 full song Music: Chris Rehn Lyrics: Sarah Jezebel Deva 8. Do you see me now >> mp3 full song Music: Chris Rehn Lyrics: Sarah Jezebel Deva 9. Original sin Music: Chris Rehn and Tommy Rehn Lyrics: Sarah Jezebel Deva and Aaron Stainthorpe 10. Hell hath no fury like a woman scorned >> mp3 sample (1:18 min) Music: Chris Rehn Lyrics: Sarah Jezebel Deva 11. Confide in me Music and Lyrics: Steve Anderson and David Seaman 12. That´s what the wise lady said Music: Chris Rehn Lyrics: Sarah Jezebel Deva Limited edition bonus track: 13. A Child That Walks The Path Of A Man Music: Chris Rehn Lyrics: Sarah Jezebel Deva

Credits

Produced by Chris Rehn and Tommy Rehn for Virtual Symphony Productions. Recorded and mixed at Sidelake Studios Sundsvall november 2005 to january 2006. Engineered and edited by Micke Öhlèn, Tommy Rehn and Chris Rehn. Additional vocal editing by Eric S. “God Has A Plan For Us All” mixed by Daniel Bergstrand, Micke Öhlén, Tommy Rehn and Chris Rehn. Initial drum engineer Daniel Bergstrand. All music arranged, orchestrated and performed by Chris rehn and Tommy Rehn. All lyrics written, arranged and performed by Sarah Jezebel Deva except “Original Sin (The Devil´s Waiting In The Wing)” written and performed by Sarah Jezebel Deva and Aaron Stainthorpe. Mastered by Björn Engelmann at CuttingRoom. Front cover model Toni Davey. Photo of Toni, Sarah and Dave by Ayesha. Photo of Chris, Tommy and Andreas by Magnus Byström. Additional artwork photos by Chris Rehn. Initial cover concept by Sarah Jezebel Deva. Artwork, layout and design by Chris Rehn. Aaron Stainthorpe vocals on “Original Sin (The Devil´s Waiting In The Wing)” and Dave Pybus bass recorded at Springvale Studios by Mark Harwood. Additional bass by Tommy Rehn and Chris Rehn recorded at Sidelake Studios. Male choir vocals by Tony Könberg. Keyboard solo on “Deity Of Disgust” by Richard Andersson. Male vocals on “Deity Of Disgust” by Martin Häggström. Piano on “Confide In Me by Kevin Rehn Eires.

Comments:All aboard?! Angtoria's debut CD has hit the shelves of your CD store. A CD loaded with melodic epical metal all built around former Cradle of Filth vocalist extraordinaire Sarah Jezebel Deva. Aside from her Filthy chapter, Deva also recorded with top notch representatives of metal like Therion, Covenant and Mortiis. Now the Rehn brothers teamed up with the charismatic diva of metal, to conquer the metallic angelic wastelands with a fine tuned blend of melodic metal with a slightly gothic underlining.

Their demo CD already received critical acclaim, so what would happen if this band recorded a full record? God Has a Plan for Us All provides the answer! With no less than 12 (13 on the limited edition version of the CD) magnificent tracks, the Rehn - Deva tandem shows the world that the landscape of melodic metal is changing and Angtoria is one of the frontrunners in this process. Not only did the band succeed in creating a truly unique and dense atmosphere, on top they managed to deliver a remarkable collection of perfectly balanced metal songs. Where the demo already stood out with a breathtaking production, crisp and transparent without losing the immense power of their songs, this full length debut even makes that recording sound pale!

Every single track fits this disc perfectly, making it an experience to hear. The opening and epic "The Awakening" intro is taunting and sheer horror paving the way for their first strike; the mega melodic ear mingling "I'm Calling," to be followed by the powerful and gloomy title track. Boosted by large choirs and atmospheric dense keyboards, it bears the sign of greatness. The poppy metal song "Suicide On My Mind" and keyboard/guitar pumped "Deity of Disgust" already where featured on the demo but gotten uplifted to the standard of the debut. Both songs sound more theatrical and stirring then ever before. Check out the amazing bridge with soaring male vocals and raging Middle Eastern guitar harmonies unloading some extra power with a ton of breaks and a lightning fast melodic guitar solo!

"The Addiction" is one that will certainly grow on you with every run of this silver spinner. An intimate ballad with amazing classical orchestrations and duet part, showcasing exactly why Deva is such a cheered vocalist! Her voice is crystal clear, nearly angelic, but still has enough power to blow you away. The intimacy of the epical song is so warm, it gets you looking for candles in order to dream away in the sonic landscape drawn by the angel of metal. Another demo track is the amazingly haunted "Six Feet Under's Not Deep Enough," with its 'sticky' chorus and melody, again hailing the talent of Deva and her companions. Keyboards and epical trumpets announcing another gem, "Do You See Now" a tougher nut to crack. It is less recognisable than the rest, making you play it more frequently.

"Original Sin" is opened by an epic intro which could have been on the last Kamelot or Epica CD: atmospheric, haunting, loud and exceptional, breaking into a story telling song with raving heavy guitars and pumped keyboards. Almost as if Nightwish was awoken and spiced up with tons of peppers. The mid section is a haunting experience on which the hard roaring of … are delivering some extreme power. "Hell Hath No Fury Like a Woman Scorned" again is a heavy hitter with some great percussion work and breaks. The cover track of Kylie Minogue's pop classic "Confide in Me" was a highlight on their debut, and is boosted by the new production. The mega melodic popster is transformed into an intimate metallic fortress of emotions, where the angel turns child reminiscent with a thin and fragile voice unloading power again in the chorus and choirs.

Closing the regular version of the CD is the piano ballad "That's What the Wise Lady Said," again a moment of intimacy that colours wide views offered on Angtoria's masterpiece. Where "The Addiction" stays floating on silently, this one builds up to a power ballad with a great guitar solo and swirling keyboards from the lightning quick Rikard Andersson of Platitude, Time Requim and Space Oddesey. His mark is heard all over this stronghold of metal, and in combination with the powerful riffing and amazing drums and percussion-works of the brothers Rehn, we can easily speak of a fertile collaboration. The limited edition version of the CD comes with "A Child That Walks the Path of a Man," as an additional track, a song that (again) makes Deva shine like a star with her wide range. Warm and moody, showcasing the excellent skills of the band and closing the track list of one of the finest releases of this year.

Hearing the demo, you could I predict this band to score a deal soon. Listenable Records offered the deserved deal and signed one of the hottest new acts in melodic metal. Angtoria is just that! The amazing compositions and epic, atmospheric musical claw and grabs your throat with surgical precision in this sonic landscape. The band is pompous like Nightwish in their best days, but more powerful and precise without ever overdoing things and losing sight. On top of all this is the fine musicianship of the Rehn Bros. and voice of Deva. God Has a Plan For Us All also consists of a fine list of guest musicians, including members of Cradle of Filth and My Dying Bride, to name just two! The cover art and song titles aren't exactly what you expect with a melodic and epical metal act, but you can't pass by this magnificent piece of work. Forget the cover and let the music convince you!

NEGATIVA - CHAOS IN MOTION

Chaos In Motion

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Negativa

Negativa 2006 Prodisk 7 /10

It seems as though Quebec has no intention of dethroning itself as the world's leader producer of innovative, technical death metal anytime soon. Unlike the geographically based Florida and New York scenes of the nineties, which a reputation of homogeneity gradually befell, Quebec's volatile political history as a separate nation within the country of Canada has solidified a revolutionary spirit in the French-speaking majority that convincingly finds its voice through music. Of course, not all Quebecois are masters of death metal. But nearly all the masters of death metal are Quebecois. The reuniting of Cryptopsy and Voivod, and the long-awaited debut release from ex-Gorguts project Negativa, effectively ties the current, mushrooming version of Quebec's metal scene to its humble early years. Started by Luc Lemay and Steev Hurdle in 1997, the Negativa project has remained mostly dormant until recently, when they recruited ex-Neuraxis and Augury drummer Etienne Gallo (who was recently hired as a session player for Aborted's new album) and ex-Ion Dissonance bassist Miguel Valade, and ventured into the studio to cut this twenty-minute, self-titled enhanced MCD. The inventive guitar genius of songwriting team Lemay and Hurdle, previously showcased only on Gorguts' most experimental work, 1998's Obscura, is instantly recognizable, yet strikingly different. Lemay's contribution here comes only in the form of lyrics, but his return to creating music for the first time since the tragic death of his most recent drummer, Steve Macdonald (who played on 2001's From Wisdom To Hate, the band's return to their roots, according to some), should be applauded. Guitarist Steev Hurdle, whose contribution to Obscura helped make it one of the most avant-garde death metal albums ever produced, wrote all the music on Negativa's debut, a task he had previously undertaken only on the doom-death Obscura track, "Cloudy." Unsurprisingly then, two of the three Negativa songs, "Chaos in Motion" and "Rebellion," can be aligned most closely with that of Obscura, the exception being "Taedium Vitae" due to its abstract, almost non-musical nature. The death-oriented songs of the bunch feature multi-layered dissonant harmonies over a rhythm section that blasts away reliably while shifting tempos at unforeseen moments. When Roadrunner were snapping up death metal bands in the early nineties in much the same fashion as they now scout Killswitch Engage clones, they capitalized on a new trend and succeeded in draining it of its life in the process. Unquestionably innovators with their two albums for the label, Considered Dead and The Erosion of Sanity, Montreal's Gorguts benefited from the buzz and enjoyed tours with Florida frontrunners Cannibal Corpse and Deicide, before being put out with the trash when the style's fan base moved on. With these two essential albums about to be re-released by Metal Mind in limited and numbered digipack packaging, and MVD in the States, a posthumous reverence is sure to emerge, but will not be met by a reunion. Negativa is the new and likely final project of Luc Lemay and Steev Hurdle. For all its idiosyncrasies, the self-titled MCD offers a torturous tease of what its members have done in previous bands, and what we can only hope they accomplish in the future. Like the later works of Gorguts, Negativa's span a far greater base than merely brutal death, a style that continues to be impressively enhanced by both younger and other veterans. While the MCD's seemingly ethereal ambiance may deter some from holding it up to recent groundbreaking and unremitting works from Neuraxis, Augury, and Atheretic, it only shows Negativa intent on following their own creative plan. Whether they enlarge or diminish the eccentric components on the full-length currently being written may mean the difference between walking the path alone or being swept up in the resurging death metal scene. However the band seems to have little concern for their fate, a noticeable sign of true artistry in death metal. Bottom Line: The especially limited release of a thousand copies of this MCD on Montreal's Prodisk is intended to whet the appetites of whatever Gorguts fans remain, which shall be helped in no small part by the label's nearly simultaneous release of Gorguts supposed "final release ever," a live album stemming from an early performance, Live in Rotterdam. The MCD is also likely geared towards piquing the interest of a younger generation with trained ears for experimental death metal; precisely the demographic classic albums of that nature including Atheist's trio of masterpieces, and Cynic and Disincarnate's lone statements were reissued for. For a Gorguts fan, this MCD is essential because it is the first new music from Steev Hurdle since Obscura, and reminds of the era, albeit in far too short order. Negativa's debut album is indeed anxiously awaited.

Track Listing: 01. Chaos in Motion 02. Taedium Vitae 03. Rebellion

TEXTURES - DRAWING CIRCLES

Textures - Millstone (2006)

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Textures - "Drawing Circles" (CD)

"Drawing Circles" track listing:

1. Drive
2. Regenesis
3. Denying Gravity
4. Illumination
5. Stream of Consciousness
6. Upwards
7. Circular
8. Millstone
9. Touching The Absolute
10. Surreal State of Enlightenment

Reviewed by psythe on March 25, 2007

"the band has had a clear desire to achieve perfection"

There aren’t many bands that can say they blew the international metal community’s minds with their very first album. Textures, with their debut ‘Polars’, did just that. Now they’ve released the follow-up, 2006’s ‘Drawing Circles,’ with which the Dutch tech-metallers have gone above and beyond their previous effort. With a fresh vocalist and a fresh song theology, Textures have proven that even the best can improve.

Drawing Circles is the debut album for the bands’ new vocalist, Eric Kalsbeek, after the departure of Pieter Verpaalen. Eric brings to the table an incredible range of emotion, from soaring clean vocals to aggressive growling reminiscent of Jens Kidman. Musically, the band combine the rhythmic mayhem of Meshuggah with evidences of Devin Townsend stylings to create a brutal yet atmospheric deliverance. While Drawing Circles is more vicious than its precursor, it isn’t quite as wild as Polars, and doesn’t continue the ambient passages of the debut. However the songs are more instrumental, and a higher degree of structure is apparent. Each song on the album is perfectly suited to the others and, as Eric put it, “You shouldn’t listen to this record on shuffle, because that makes it sound less good.” Drawing Circles focuses more on the song as a whole, rather than the song as a way to interweave as many experimentations as possible, which helps the band convey clearly the concept inherent in the album; humankinds’ desire to achieve perfection. The album itself is an icon for its own concept, using its own characteristics to denote the message it portrays – with Drawing Circles, the band has had a clear desire to achieve perfection.

Drawing Circles gains utter attention right from the outset, with 'Drive' opening our eyes for almost a minute before Eric kicks in with a blisteringly metal “We don’t need a saviour to be saved.” The attitude of the band is openly displayed in this track. 'Denying Gravity' was inspired by Dimebag Darrel, the riffs drawing away from Meshuggah and closing in on Pantera for five minutes of full-fledged fury. Lyrically, the song suggests that we must keep on moving forward. 'Stream of Consciousness' was written in exactly that style, as used by English author Virginia Wolf, without any revision or alteration. 'Upwards' is a six-minute intro to the second half of the record, and contains close vocal similarities to 'Touching The Absolute', though the melodies do vary. 'Touching The Absolute' is the longest track, with a running time of just over 8 minutes, and sums up the feel of the album. Drawing Circles ends with a slightly under 4 minute instrumental outro that reminds us of how intense the musicianship of the band can be, especially taking into consideration the fact that the band records and produces their music themselves in a studio they built in their attic. There may well be no such thing as perfection, but that certainly hasn’t stopped Textures from striving to achieve the impossible.

Highs: A higher degree of structure to musicianship gives Drawing Circles a clarity that was missing in Polars

Lows: No single song can be listened to without a resulting need to listen to the whole album, in order. I'm still not sure if that is a bad thing or not.

Bottom line: With everyone else raving about Textures, perhaps it's about time you picked up a copy of 'Drawing Circles'

TAKEN FROM: http://www.metalunderground.com

BARONESS - RED ALBUM

BARONESS - RED ALBUM - Video

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Artist:	Baroness
Title:	Red Album
Label:	Relapse Records
Price:	$12.00

Generic Mastodon comparison title. - 80%

Written by Skammdegisthunglyndi on January 30th, 2008

Despite a relatively meager output of two EPs and a split release Baroness have already built themselves a formidable reputation in sludge circles and across the metal spectrum in general. It's no surprise therefore that their debut full length has become one of the most anticipated releases of the year. With First and Second setting such high expectations for the band the Red Album has some pretty big shoes to fill. To get it out of the way, the Mastodon comparisons are unavoidable; the Southern-tinged progressive sludge genre isn't exactly flooded. First and Second managed to seamlessly blend the rawking sludge aggression of Remission with the proggier sensibilities of Leviathan whilst still retaining a unique flair. Interestingly enough Red Album appears to have followed Blood Mountain in so much as Baroness have cleaned themselves up and gone a bit more Rush and a little less EyeHateGod. The trademark interwoven melodies and pissed off lumberjack vocals are still all there, but it's with less crunch and more widdle. Opener 'Rays On Pinion' is a much more subdued affair than either 'Tower Falls' or 'Red Sky' with slow building tribal-like tom work and clean leads that flutter about like moths to a flame. Even when it kicks in the expected aggression is eschewed for a more focused drive. The album as a whole feels more streamlined, the band have matured and honed their sound with each passage flowing smoothly to the next with military precision. Each note feels meticulously crafted but not forced. They've taken the Mastodon style southern licks from songs like 'Megalodon' and 'Crusher Destroyer' and extrapolated them, carrying them through to a conclusion in 'The Birthing'. The instrumental piece 'Cockroach En Fleur' is evocative of Tony Furtado's trademark slide piece 'Cypress Grove' and closing track (excluding the hidden one) 'Grad' comes across like an up tempo Earth circa 'Hex...'. Even Welch's gruff vocals now soar over the top with subtle melody, rather than barking from beneath. Baroness have clearly hit their stride and Red Album is the triumphant culmination of their efforts to date and an impressive excerise in diversity. It takes a few listens to readjust and let it all sink in and the maturation of the sound may loose a few fans among those who were longing for a sludgier full length. However, this release sees them stepping out of Mastodon's shadow with their own unique take on the genre.

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Great 3rd album. - 80%

Written by olo on November 21st, 2007

With the popularity of Mastodon, Yakuza, this year's Danava among others, record labels clearly want to promote more bands that play dirty metal/hardcore rooted music but take it to another level with influences from various other genres. Georgia's Baroness releasing their latest album on Relapse just sealed the deal for me. Baroness is led by John Baizley who plays guitars, handles the vocals and gets the credit for the brilliant album artwork too (see above). Allen Blickle on drums, Brian Blickle on guitars and Summer Welch on bass complete their lineup on this album. John says there's a concept behind the name of the band which he doesn't want to reveal to the audience. Baroness also doesn't give any special names to their albums. The first album is called One, the second one Two and followed that by a really good split with Unpersons earlier this year, and now this is their third album titled The Red Album. I know, as straightforward as a Russian named Ivan, a French named Pierre, a Korean named Kim, Mexican named Chico or even a Nepali named Bahadur. It's difficult to come up with a straight forward description of what this album sounds like. A parallel can be drawn to the metal-hardcore-sludge influenced bands that play progressive/experimental music (Neurosis, Pelican and the whole ilk) but not just that. Another parallel can be drawn to what Mastodon is doing with the similar styles of influences too. There are similarities during the more ferocious riffing parts of this music and the vocal stylings. The Red Album isn't as sludgy as they were prior to this album. They've toned the fury down a wee bit, have written more accessible and catchy melodies but with the song structures that's more downright prog and epic than before. They mix that up with things like trippy spacey passages that build up to something heavy and even sweet guitar harmonies thrown in. This is still going to be a difficult album for mainstream appeal but hell, if the bands mentioned at the beginning of the review are getting some attention, these guys just might too. This might just become the era of new prog soon. But let's not bother about all that shit, just get this album. http://www.kvltsite.com

taken from: metal-archives.com

WORMED - PLANISPHAERIUM AND MORE

maryland deathfest 3 - wormed

METAL ARCHIVES www.metal-archives.com

You will be raped mentally and anally. - 82% Written by LifeInAFireBox on February 9th, 2005 If you've read any of the other reviews, or even listen to any death metal, you already have a decent idea of what Wormed is about. Quite simply, they want to be the heaviest, craziest fucking band in the world. Were they successful? Pretty much. Take Cryptopsy's brain-scattering technicality, the over all tone of Suffocation, the rhythmic stuttering riffs of Meshuggah, and the vocals of Anal Bleeding (probably the only band I've heard who's vocals are remotely this low), and you have, for the most part, Wormed. After all I'd heard about this band, I had very high expectations. Fortunately, and even surprisingly, they were met. I really only have two complaints about this album. As odd of a thing as it is to say about a death metal CD, this is too short. This is probably one of the shortest, if not THE shortest LP I've ever seen. Finishing up in a mere (and just barely) 25 minutes, it might leave you saying ... "Where's the rest?" The production is my other complaint, it's by no means bad ... but, it is the only thing stopping this from being the heaviest material this side of uranium - the guitar, needs to be just a bit louder. And, despite it being heavier than most people could comprehend, it's not always as "aggressive" I guess, as say Origin. Of course, that's not a complaint, because Origin can get old pretty fast due to that fact. Okay - I'm done complaining ... besides those pretty minor things, this CD completely destroys. I like the way the drums sound, raw and snappy, yet able to cut through the mix. The bass sticks out, will give you plenty of kick, but won't get over used in it's popping and stand-alone fills, like in other bands that copied Cryptopsy. The guitars have more crunch than a bag of Doritos (bad analogy ... but you get the point ...) and the vocals ... It's not really possible for someone to review this CD without commenting on the vocals. I was actually not sure a human could make a sound so low. Ironically, it's like giant WORM, like from Star Wars or something ... the most gargantuan, ugly, lard-assed worm ever, with the ability to make noises someone similar to a human - at the same time though, he's pissed off, and flailing around like a crazy motherfucker ... yeah, that's what the vocals sound like. And people mostly put this toward them being one of the heaviest bands in existence - and yet, it does add a huge amount, but you take that away, and there's plenty of bands on par. (And I was never one to say just because something heavy, doesn't mean it's good) But damn, it IS good. I also don't see why people call this "experiemental" - it's really not that strange. Minus the track "Fragments", and the extremely weird, and out of place passage in "Geodesic Dome" - there's nothing I'd call "experimental" ... Unless you consider their odd lyrical concept to be part of that. I do enjoy that concept - it's different, it's cool, and it somehow really fits the music. Highlight Tracks: Geodesic Dome - Actually has some of the lowest vocals of all. Technical as Hell, has some good grooves, and of course the extremely weird, yet surpringly enjoyable, spacey, emocore-ish sounding(?) part. There's really nothing to compare that part to. Probably the best song on the CD. Yuem - Weird, complex yet somehow catchy rhythme (Why can't Meshuggah do that?) some great drum playing on display, and another mind-numbing trip of technicality. Final thoughts: the primary weakness of this album is it's length. It's TOO SHORT. Nothing gets time to gel, and you'll just find yourself having to listen to it 948 times ... and unfortunately, having done so, I still think the songs can sound alike at times ... but, damn, it's original regardless of the bizzare exprimental shit, and obviously one of the heaviest things you will ever hear in your life ... if you like brutal death metal, this is must. BACK TO TOP A landmark in insanity - 80% Written by stickyshooZ on October 7th, 2004 I’ve come to realize that dictionaries everywhere need to be updated. Why? Because if you look up the word “chaos” as well as all of its synonyms, there aren’t any pictures of ‘Planisphaerium’ next to the definitions! This album is purely murderous and utter brain rape insanity from start to finish. Wormed’s first album is twenty five minutes of razorblade death metal riffs, bludgeoning bass, erratic double bass, heaps of heavy riffs, savage howls, and of course, extra slabs of riffs. Each song pulsates with inhuman brutality, rage, and sheer technical fervency that it makes my brain bleed out. If you’re expecting something that will slow down and comfort you when you’re deplored, then you are gravely mistaken. You’re more likely to receive a lesion rather than a pat on the back. ‘Tunnel of Ions’ starts the album off with a sharp little guitar riff, which detonates the fuse on this baby and as a result, everything explodes into full out death metal Hell. God damnit, my shit has been ruined by the iron fist of booming bass, jaw dropping drum pummel, and super crunchy, shredding guitar riffs. Mutilating riffs are always attacking you; there is no escape. The crunchy and sharp guitars slash and tear your skin away and rip it right off of your bones. There are many ultra technical riffs, similar to bands like Cryptopsy and later Cannibal Corpse, albeit they are not as punchy or possess as many hooks. The real problem is that the guitars aren’t loud enough. If you want to be battered and bashed, you need to have it LOUD! I want to be smashed into the ground until I’m suffocating and drowning in dominating riffs; not saved from it by some musical lifeguard (the ones who were responsible for the production of this album) who decided that the guitars were too dangerous to play with. Ooooooo yay, while the lifeguards are busy with their dicks in their hands, the bass runs free causing complete chaos. BOOM, BOOM, BOOM, DIE! The bass is easily heard in the mix as it grabs necks everywhere and smashes faces into the floor, leaving nothing but a bloody stump. That bass could break your face just by glancing at you if it wanted to. If anyone complained about the bass not being loud enough and they are still breathing today, then chances are that the bass deemed them unworthy of death and that going through life as a doofus would be much more of a fitting punishment. Not enough beat down for you yet? Well, just wait until you get a taste of the throbbing drumming. Holy damn, this guy really goes above and beyond when it comes to speed while managing to keep it interesting. You know what I’m tired of? All of those death metal bands that just use blast beats, blast beats, and surprisingly, more blast beats…you won’t ever find Wormed using that cliché method in such a redundant manner like their ‘predecessors.’ The burley drum sound is like taking a hammer in face at the speed of a chain gun. Hey, Schwarzenegger! Drop that chain gun and just carry Andy C. in your pocket whenever you want to really terminate something. This time no one will “be back.” This time, everyone dies. It’s good to see that there is still some metal, especially death metal (which generally takes the cake for recursive and dull lyrics), that possesses lyrical intellect. What really strikes me into awe is the bands singer, Phlegeton, which happens to be one of the bands most distinguishable features. Holy shit, this guy sounds like a more guttural version of Lord Worm (Cryptopsy)! It’s almost impossible to believe that a human is capable of producing such raging, skull-fucking shrieks and growls. Listeners might want to take the safety of their temporal lobes into consideration before getting a taste of Phlegeton’s monstrous vocals. I dare anyone to read about the concept of this album (this information can be obtained off of the band’s official website) and give feasible testament that the album’s story comes up short in the light of brilliance. Space, time, evolution, dimensions, and planets are the main keys in this unusual theme. Each song plays a unique roll in the story, but I leave it up to you, the reader, to discover that for yourself. So, you think Dying Fetus is brutal? Give this a listen and learn what real insanity and violence sounds like. However, don’t tell anyone that I recommended this, because I do not want to be blamed for being an indirect factor for any brain damage that may occur. BACK TO TOP A taste of the strange...and I like it! - 84% Written by Antikrist on September 15th, 2004 From the first minute of this album, I knew that this was some wierd shit I was listening to. After all, bands that play music about quantum physics and the like aren't exactly going to be run-of-the-mill death metal. While the band puts up a real death metal riff attack with some strange sounds, it's also the vocals and drums that make this sound so strange. The first thing that struck me was the sound of these vocals...in fact the first thing I thought they sounded like was a giant jungle lizard for some reason, and in fact these are about as inhuman as humans can sound. The only fitting comparison I can think of is the vocalist from Abandoned Grave of Germany. I can see the Lord Worm comparison in terms of how inhuman they sound, but I don't think this vocalist sounds much like Lord Worm at all. And, yes, you won't understand one syllable of the lyrics with these vocals. The drumming is nothing near the typical death/grind drumming of today. The snare drum for one sounds like it's one of those carribean metal drums they play on the beach (except that it's only one tone). And the drummer is not afraid to introduce some unique drumlines into the mix apart from the traditional blast and grind beats. At times he will even slow to half-pace drumming over a very brutal riff making for some interesting listening. He also introduces more original brutal drumlines into the mix at times. The riffage itself comes off as brutally as you'd expect from death metal, but it's not done in any conventional ways. This is one thing you really have to hear to understand, but don't expect any Deicide-worship, that's for sure. I don't really know how to justify this album as worthy of listening to except that if you like death metal at all and want to hear something that you haven't heard before and probably won't hear again (until Wormed release a follow-up album...hopefully soon) then this is worthy of your time. It's a truly enjoyable release. BACK TO TOP Busting my review cherry... - 60% Written by MetalCheese on April 12th, 2004 The very first time I gave this album a spin, I gave up on death metal right then and there, for 5 whole minutes. I threw my hands up in disgust, and about a minute in to "Tunnel Of Ions" I hopped off of my sofa, and proclaimed to my overweight Tabby that... "This is noise! Nothing but noise!" I turned my craptastic CD player off, removed the disc, and inserted it into it's case. I then returned to my sofa, and began humming that godlike Sodom riff from "Tired And Red" (You know the one!) in an effort to clear that chaotic noise from my mind. Now, I know I'm supposed to be reviewing the CD, and I will get to that in a second.... But first, let me tell you a little something about myself. Most of the time when I purchase a Metal CD, I dislike it... At first. Unless it's some super happy sounding Power Metal band with squeaky clean production and epic songstructures, I dislike it. I don't know why (Besides the fact that I'm a strange DOOD) seeing as most of favorite bands would be considered highly inaccessible, but this is the case. Hell, maybe I'm a fruitcake, but it usually takes me a few listens to appreciate anything even REMOTELY intense. Realizing this about myself, I decided to give Wormed (Cool name) another listen. I popped the CD back in and started to listen... And while now I don't consider the music on "Planisphaerium" to be noise, I wouldn't argue with someone who thought it to be. After all, I'm a seasoned Metalhead, and I could barely take this..... It's BROOTAL DEATH METAL BABY! Now...*quick breath* on to the music. In case I didn't establish it in my babbling above, this is some skullcrushing, disemboweling, virgin raping stuff! I'll begin with the vocalist, or as I like to call him, Human Garbage Disposal-man! (Not creative enough for you? Well I'm writing this at 3 AM, so fuck right off.) Now, Human Garbage Disposal-man's vocals are sicker and more vomitous than your usual Death Metal vocalist. To truly understand how INSANE this man's vocals are, imagine that he swallows his microphone, and while he is gagging for air, proceeds to stab himself in the neck with a writing utencil.... NOW, imagine the gurgly sounds he makes before killing over. Increase the intensity of those sounds a couple of times over, and spread them throughout a 30 minute album. Got it? And don't even THINK about trying to make out what he's saying. You'll surely give yourself a brain hemorrhage and YOU WILL DIE! There are a few clean vocal breaks, but those only last for seconds, and are pretty unintelligble too. What I haven't established yet is if I dig these vocals or not... Well yeah, I think they are pretty damn cool. As far as uniqueness goes, Human Garbage Disposal Man is up there with Antti from Demillich. The drums are mixed FAR TOO LOW in the mix, and are overpowered by the guitars. The drums, when fully audible, sound horrid, by the way..... I don't know what he's hitting (I don't know a damn thing about drum pieces) Buuuuuuuut.... Remember that album "St. Anger" by that one band.... Me..... Met..... Ah, it's that Mallcore band that used to put out Mediocre Thrash albums. Their name's not important, just that album. Remember those ear-violating drums that sounded like trash can lids, and pots and pans? Well the Wormed drummer likes to play the pots and pans too, except he keeps his "drumming" in the background. Thank you good fellow... And Lars, take notes buddy! ... On second thought, don't take notes. Just retire. :) The guitars are WAY too distorted, which is a shame... They have some decent riffs, but due to the insane distortion the riffs tend to blend together and become indistinguishable from each other. They bust out some awesome riffs throughout the album (The song "Voxel Mitosis" for instance), but too much of the time they become just a wall of fuzz, and they also tend to reuse a lot of riffs throughout the album... GET YOUR ACT TOGETHER, WORMED! The bass is playing... Fuck knows. Bass audability is forbidden in Death Metal, don't you know that sucka? Iiiiiiin conclusion, I can say that I do not hate this album. I find it to be mediocre, but I can definately see some potential in these Wormed fellas. Perhaps with a thicker drum sound, and the distortion turned down a few notches, these guys can release something so kickass that the Cheesemeister is forced to review due to sheer awesomeness. I do appreciate the lyrics though (I'm sick of "death this" and "murder that"... Space, psychosis, and human evolution is the way to go!) Lyrics are pretty important to me, so I will award "Planisphaerium" a generous 60% instead of the 50% that I was going to give it. BACK TO TOP Super brutal album with a crazy concept - 95% Written by WinterElegy on April 5th, 2004 I don't know where to begin with this release. Wormed constantly pummels you with a massivle onslaught of super brutal metal throughout this release. There is some crazy concept behind this album that deals with space travel and the human conciousness, go to their site if you want to read it, it is very interesting. It is always good to see some intellegent death metal these days. Anyway, every song on this cd will keep you awake and occupied. Nothing boring about this cd, they keep the riffs changing and will occasionally through in something really random that still sounds badass. I forget the order of the songs, but here is a breakdown on them anyway: Tunnel of Ion: Fucking insane intro track. The singer has some super fucking up low ass growl vocals which are amazing and fit really with the music...sometimes. On this track the vocals are more growly and intense which is really cool. This track pummels you with random snare that sounds like a trashcan in the background. Anyway it breaks down to some slow intense stuff and then goes back into super pummeling mode. There are some really quick stops which amplify the intensity of the proceeding riffs Ylem: Starts off with some weird riff then goes into super intense stuff, but has the riff has some like one second parts that are just bass and drums to change things up. Little things like that make this record great. The end gets slow with some really scary growling. Dehydrating: Another brutal song that crushes your skull. There are some awesome groove riffs somewhere in this song, then near then end there is some..possibly talking...it is really cool whatever it is. Fragments: Some crazy awesome 15 second clip of something random, but it is really atmosphereic and spacy. I wish it were longer and they did more things like this on the record because the concept of it deals with space and what not, but as it is it still fucking rocks. Geodisic Dome: This song has more of the super low gutteral vocals that just sound like "uuuuu" I dont like these as much, but they are pretty good. There are cool riffs on this song and it is also badass. Then in the middle this REALLY strange part comes in with some high guitar notes and normal talking, but it somehow totally flows with the song and makes it so much cooler. Too bad it only lasts for like three seconds Planispharieum: The title track, of course it kicks ass, it starts with a sledgehammer riff that pounds away at your brain and then it goes into the fast brutal stuff these guys do best. Fucking fast and intense, a combonation of the "uuuu" vocals and the slightly more growly ones. Some interesting drumming at about 3:00. Sounds almost tribal then it has an awesome ending and unfortunately is over. Voxel Mitosis: I have no idea what this or half the titles mean but it sounds awesome. The intro riff is groovy, then the rest of the song kicks ass too. It gets really groovy after 1:00. Awesome song Pulses in Rhombus Form: The weirdest song title ever, but possibly the coolest. The intro is pretty generic, but then some cool riffs come in and this song becomes unique. Just when you think this song is a generic wormed song, he throws in some different growl vocals which sound very good. Then they have another cool riff and you remember this was the best album you've heard in a long time. Damn this album was so badass. BACK TO TOP Holy shit. :O - 95% Written by Spawnhorde on January 18th, 2004 Hands down, one of the best releases of 2003, Wormed's first full length album, 'Planisphaerium', is fucking killer. I have not one quarrel with this album's execution. The concept has something to do with Humans' ultimate evolution in the realm of Outer Space, but I'm not completely sure about the full story. As always, though, lyrics aren't necessarily what concerns me (first, at least). It's the sheer layers of sound here. Everything is playing over everything else so damn well. Macabre Mementos is already my favorite label, just for having 4 brutal bands worthy of getting 90s and above. This album doesn't change a thing, and possibly improves my opinion of the label's direction. As for instruments, the drums. Holy shit. The drums are all over the place. Andy really knows how to kill his set, pulling off huge fills in literally tiny spaces in the song. The guitarist pulls off killer riffs constantly, and there is always sort of a low guitar chug in the background, as well. Oh, and don't even get me started about these vocals. Easily one of my favorite styles of vocals, Wormed's Phlegeton has these really distorted snoring/burping/screaming sound, that sounds almost alien. This really adds to the feel of the album. If Phlegeton's vocals were different, I would give this a 75 or so. They're just that damn cool. If I have to ask one thing of Wormed in their next release, it's that they include keyboards. Now I KNOW this could really disappoint some "total fucking brutal" people out there, but this band NEEDS keyboards, but even if they didn't include them, I would still love this band. I don't mean soaring keyboard solos, I just mean "out there" keys, to add to the spacey vibe. Overall, this album is total fucking slayage. Buy it NOW. BACK TO TOP Brutal Death Metal done right - 90% Written by Megafury on July 17th, 2003 This truly is hyper ultra brutal death metal, which the band describes their sound as. The heavy guitars scratch through your ear drums, the powerful blast beats pound on your skull, and those low growls from the gut sink into your head. Although the songs do tend to sound a little too similar, the band's general sound is great. Every song is a chaotic mess of noise. This is one of those albums that I listen straight from begining to end, rather then skipping to what track I like becuase the album as a whole works good as one really song that changes grinding grooves throughout transition to another track. If you ever want to piss off your neighbors, put this album up on full blast and this album will torture them. I could see their ears getting ripped to shreds by all the songs here. The track Fragments is the only track that's completley different form the whole album because it's not even really a song. Just some 14 second sound clip. Geodesic Dome is also another track on the album with something a little different thrown in the mix. It came to a surprise to me when, after the blistering noise, I heard regular singing and calmer music playing for a few seconds, then it got back to the brutal music. Fans of Cephalic Carnage, Cryptopsy, Dying Fetus, and Pig Destroyer, take my advice, get this album if you haven't already. Reviewed by Iadalbaoth / www.friedhof-magazine.com BACK TO TOP

BLOODCIFERY

Sin duda alguna con este su tan esperado primer trabajo, la manda madrileña se consagra como la mejor banda a nivel brutal de la escena española, así como la respuesta mas contundente al metal mas extremo que llega desde el otro lado del charco. Mucho hemos tenido que esperar para que esta joya de brutalidad insana llegara a buen puerto, cambios de formación, problemas con la grabación, etc... pero la espera no es que allá merecido la espera, es que realmente la banda ha logrado ponerse el status de dioses del genero en lo que a nuestro país se refiere, y sin dudarlo ni un instante no tienen que envidiar en nada, (asi de rotundo soy), a las bandas foráneas. Aun recuerdo la primera vez que escuche digamos el single adelanto de este su debut en formato larga duración, y que Javi su guitarra me mostró en uno de sus viajes a nuestras tierras... Las sensaciones que me vinieron a la cabeza (y eso que no había pasado aun por el proceso de masterizacion) fueron muchas, la banda había logrado ser compacta, extrema, técnicamente retorcida, ni apta para todos los oídos, aunque claro esta aquella primera escucha del tema " VoXel Mitosis" no era mas que eso una primera toma de contacto con el mundo retorcido, caótico y visceral que el ahora cuarteto de la capital del reino nos tenia preparado....Como bien habéis oído ahora son cuarteto, y el cambio en vez de ser a peor y perder intensidad por la falta de un segundo guitarra es totalmente lo contrario, la banda suena mas conjuntada, mas extrema, mas contundente y este falta lo que ha hecho es incrementar la potencia si cabe. Claro esta todo esto mencionado no es un peloteo barato, ni mucho menos, son años de trabajos, de horas metidas en el estudio, de lograr plasmar todas las influencias que posee el cuarteto, lo cual no iba ser fácil, ya que la variedad de influencias es tremenda, sobre todo si vemos los proyectos paralelos que poseen algunos de ellos Nüll, Unsane Crisis entre otros muchos. Pero claro estamos hablando de autentica maquinas de matar, la perfecta maquinaria de aniquilación se plasma en temas como el que da titulo al álbum, o el ya mencionado "Voxel Mitosis", " Tunnel Of Ions" etc.., temas repletos de continuos cambios de tempo, esos típicos ritmos de parada y vuelta a empezar, es decir pasar de un bombardeo de blast beats a pasajes mas pesados, y vuelta a la rapidez, y todo ello sin apenas inmutarse, donde los riffs hiper retorcidos salidos de la guitarra de javi, son seguidos muy de cerca por la pareja ritmica (aun no entiendo como el resto de la banda puede seguir a esa maquina detrás del kit de batería llamado Andy) formada por Andy del cual ya hemos hablado maravillas en muchas ocasiones y que literalmente se sale en este álbum, y el cual tiene un pareja de lujo, la cual dicho sea de paso tiene un merito mas que increíble de poder seguir a esta tormenta blastica que forma este personajes, y me refiero a Guille, el cual maneja el bajo como si fuera un apoyo a los riffs que escupen las cuerdas de la guitarra, y se comporta como el perfecto engranaje para que la maquina rítmica funcione a las mil maravillas, pero claro tras este trio se encuentra la voz cantante (y nunca mejor dicho) ese pequeño gran hombre que tiene que tener el esófago lleno de llagas, o una jauria de jabalis en su estomago, para poder emitir una de las voces mas enfermizas que he escuchado en mucho tiempo, profunda como el abismo del mismisimo infierno, un cruce en Matti Way, Ruben Rosas, o Joe Wolf de Cleanflesh. Musicalmente los englobaria en un encuentro entre lo mejor de Cryptopsy, capaces de crear a la velocidad de la luz y con una técnica casi perfecta los mas increíbles ritmos con lo que conlleva eso, luego diria que en las partes mas pesadas me recuerdan a Repudilation, Disgorge (usa), Devourment and co, y sobre todo en la voz, pero ante todo Wormed and conseguido un estilo propio, muy personal, basado en sus mas que diferentes influencias y generalizado en los continuos cambios de ritmo, (pocas bandas he visto con tanta disparidad de tempos musicales) todo ello creando una atmósfera caótica, retorcida y enrevesada difícil de calificar. Pero por encima de todo y quizás uno de sus fallos mas notables era lograr trasmitir lo que consiguen en sus conciertos en un disco, es decir una produccion acorde a su calidad y su vision musical, algo que en anteriores trabajos no habían logrado, y aunque seguramente como todo en la vida es mejorable han conseguido en este Planispherium. Otro punto a favor es que se salen un poco de todo la voragine de portadas llena de visceras, sangre y demás tópicos del estilo y se decantan por seguir su concepto principal basado en un futuro que realmente si da miedo, donde la muerte es solo el comienzo y las dimensiones paralelas que rodean el universo estan ahi esperándonos (mas o menos....) y todo ello con la esfera ectoplasmica como base de dicho concepto, lo cual sin duda alguna le da una frescura y porque no decirlo una originalidad de la cual esta falto dicho estilo. Y todo gracias a la mente enfermiza y ultradimensional de Phlege cantante de la banda, creador del concepto lirico, del diseño de la portada asi como de todo lo que rodea al aspecto visual del álbum. Poco mas se puede decir de una banda que en el escalafón de la escena española (y yo diria que mundial, aunque tampoco tenemos porque subirles demasiado el ego, que luego ya se sabe, el próximo disco emo, jajá jajá just kidding guys) esta un peldaño mas arriba que el resto, y si no me crees hazte con este trabajo y ya me diras.... POSIBLEMENTE LA MEJOR BANDA ESPAÑOLA DE BRUTAL....!! Reviewed by Pinhead / www.bloodcifery.com BACK TO TOP

ROTTREVORE ZINE

(10/10) Wormed from Spain comes with new vortex creating a huge explosions on brutal death planet by adding the technical and proggressive elements. The vocalist Phlegeton strikes with his deep guttural breath remind me to Mr. Ruben Rosas of Devourment, then J.Oliver who plays guitars here and Guillemoth on bass give repulsive distortion wave creating a thick heavy sound somewhere between Skinless and Eternal Suffering (Rip), creating the complex riffs and intense in a same time, last is Andy C, the master of all, the source of mass destruction, the battery of all elements, blast and grinding to the core. Wormed brings forth a new innovative breed of extreme music. www.angelfire.com/art/rottrevore BACK TO TOP

FRIENDHOF MAGAZINE

He aquí el primer álbum de esta banda madrileña de Brutal Death experimental formada por Phlegeton a las voces, J.Oliver a la guitarra, Guillemoth al bajo y Andy C. a la batería, la cúal hay que destacar notablemente en este Planisphaerium ya que Andy ha demostrado su técnica y rapidez dando un resultado demoledor, y bueno, la batería no es solo lo mejor de este disco, las composiciones de guitarra y de bajo son muy originales y la voz de Phlegeton es un asesinato en estado puro, y todo esto se demuestra escuchando cualquiera de los ocho cortes, cortes en su sentido literal ya que temas como “Tunnel Of Ions”, con unos riffts muy poderosos, “Voxel Mitosis”,con una batería que parece una puta ametralladora, o “Ylem” ,caracterizada por su originalidad, son como cortes profundos en el cuello, sangrientos y mortales, en definitiva, Wormed se afianza un lugar entre los mejores grupos de Brutal Death y refuerzan más aún si cabe la escena Brutal Death española que con grupos como Avulsed, Human Mincer y Cerebral Efusión entre otros estan dando un auge a la escena Brutal Death española impresionante. Reviewed by Iadalbaoth / www.friedhof-magazine.com BACK TO TOP

MONDONGO CANIBALE

AIBA LA PUTA OSTIA, como bien dirían en mi tierra, esta es la 1ª expresión que se me viene a la cabeza nada más empezar a escuchar este cd. ULTRA BRUTAL DEATH TECNICO? Si vamos y Doraemon es un puro Grinder. Esto es mucho mas que Brutal Death, aúnan lo mejor de la técnica de dicho estilo, partes ultra brutales, “low gutural vocals” perfectos alternándolos con alguna voz que otra aguda y ritmos que no dejan de sonar en mis tímpanos mientras muevo mi puta cabeza al son de esos ritmos “arrítmicos” como los bautizaría. Sin duda la mejor grabación y el mejor grupo que hay y ha habido en España de Brutal Death en cuanto a brutalidad, ideas, sonido, conceptos,... un disco que no debería de pasar desapercibido a cualquier buen fan del Death Metal en su vena más brutal. Grupos como Wormed junto con Human Mincer, Baalphegor, Haemorrhage... hacen subir enteros a nuestra brutal escena(¿cuantas veces he utilizado la palabra brutal?). Pero bueno vayamos a la música que me enrollo más que mi profe de Filosofia.8 TEMAZOS de este grupo Madrileño donde el concepto lírico cobra gran importancia, donde tratan temas sobre el espacio exterior pero de una manera “muy interesante”, como muy técnica, que viendo el libreto me han dejado más que flipado. Musicalmente nos encontramos partes brutales donde la caña no para, partes ultra técnicas, riffs de guitarras increíbles, baterías inimaginables,...un disco donde no puedes parar de hacer “mosh” como un puto loco. Imaginate a unos Gorgasm,Cryptopsy (por la técnica) junto a unos Disgorge,Brodequin(USA) (por su brutalidad), añádele un poco de Immolation (por sus riffs) y tendrás a unos Wormed. Sin duda el mejor disco de lo que va de año 2003, una compra obligada. Reviewed by Fekalot, King of the underworld / www.mondongocanibale.com BACK TO TOP

XTREEMMUSIC

Joder!!! Después de incontables retrasos aquí tenemos el CD de debut del mejor grupo de Brutal Death Metal que jamás ha habido en España. Bien, supongo que todo el mundo se ha estado preguntando lo mismo: “Qué cojones pasa con WORMED y su debut que supuestamente iba a salir con Macabre Mementos?” Bueno... no más preguntas estúpidas por favor, porque una vez que tienes “Planisphaerium” en tus manos, adviertes lo increibles que son el diseño e ilustraciones del libreto, momento después esta sensación queda en un segundo plano ensombrecida por el instante en el que se escucha la primera nota que escupen los altavoces de tu equipo estéreo, es entonces cuando realmente te das cuenta de que toda la espera ha merecido la pena porque este material lo aplasta todo!!! Las nuevas composiciones son aún más retorcidas y complicadas que antes, pero lo maravilloso del asunto es que no se hacen aburridas para nada porque hay un montón de energía intensa y sobre todo toneladas de brutalidad contenidas en ellas. Las habilidades técnicas de los cuatro músicos que forman el grupo son simplemente extraordinarias, a destacar una vez más sobre todo la labor del batería que es un maestro y también del vocalista que es una especie de bestia humana sólo comparable con Matti Way o Ruben Rosas, aunque con estilo propio. Acerca del sonido diré que como todos bien sabrán éste era el punto débil de WORMED porque un buen sonido era todo lo que necesitaban para sacar a relucir el auténtico potencial que tienen, y sólo diré que han pasado el exámen con un 10 porque este es el disco con mejor sonido que se ha grabado jamás en este país en lo que a música extrema se refiere. Si te gustan bandas como CRYPTOPSY, ORIGIN o GORGUTS por sus tecnicismos y SUFFOCATION, DEVOURMENT y DISGORGE (usa) por su brutalidad y pesadez, entonces imaginate una mezcla perfecta entre todos ellos y sabrás más o menos por donde van los tiros!!! En mi opinión una banda como está se merece un jodido contrato con un sello del calibre de Relapse Records como mínimo!! Eres de esos que les gusta el Brutal Death Metal? Sí? Entonces realmente necesitas esta joya! Y ahora mismo!! Reviewed by Kuba Peziol / XTREEMMUSIC.COM BACK TO TOP

METALREVIEW.COM

Wormed is a band that has unearthed some serious fucking sickness in a fresh new concept that has never been seen to this extent in the world of brutal death metal. Let me start out by giving you an idea of their idea: Wormed has come to the realization that we are miniscule creatures in a vast universe that sees us as exactly that. Exploring the brute natural forces in space and portals to other dimensions, they present their ideas in highly educated and scholarly researched forms and fuse them w/ some of the most brutal fucking slam grooves and ultra-guttural vox ever. First thing you'll notice is the very unorthodox cover art and professional insert layout of the disc. There is not a trace of traditional gore in sight, whether it be in image or words. Reading the lyrics is like reading any book by Stephen Hawking. It is a "galactic journey" that does a much better job of instilling any kind of fear or emotion than gore because #1: It swiftly takes you to a completely different plane of existence, and #2: It opens your eyes to the vast power and nature in a violent universe. This trip is going to start out w/ "Tunnel of Ions". First few things I noticed were a crunchy as phuck guitar tone and that bass is actually being used as an instrument, as opposed to just following along supporting massive detuned power chords. The guitarwerk gives the music a spacey feel right off the bat. The music itself is technikill in a "loose" sort of way, flowing from point A to point B, encouraging the listener to keep a close eye and ear as to what's going on. Drum sound is very good, w/ a kick drum that packs solid punch and a tight snare that maintains a "latin" feel if you will. As I mentioned vox are unbelievably low and take you to new depths of depravity. Tunnel of Ions is a brilliantly structured song that slams you from ceiling to floor w/out warning. At the 1:30 mark it unexpectedly goes into a riff that truly defines the word "lurching". Just giving you a taste, they retreat to the mainframe of the song, then at 3:00 return to the lurcher, but slow it down even more to crawling pace. Holey headbanging mania! Careful not to overuse riffing, they leave it quickly and thus berthing the rewind factor. "Geodesic Dome" is another monster mosher of Spanish sickness. The bulk of this song is unbelievable heavy. Starting out w/ speedy chunk chords and struggling natural harmonics, it almost breaks to a Cryptopsy-esque string-slap, then prepare for the wrecking ball at 1:56. Guitars berst chunk then suddenly stop while "Phlegeton" sustains his immense guttural growl. Resume sickness w/ a surprising free-jazz break w/ spoken werd underneath. The song ends out w/ the heavy as hell open chord abuse. "Voxel Mitosis" has genius touches of latin drumming and very interesting bass lines. "Ylem" could quite possibly be the flagship of the album in terms of concept & heaviness. Jumping out of the gate w/ a semi-polyrhythmic riff that drums follow w/ a very odd-time beat (think Fear Factory's "Obsolete" beat), it proceeds to a super-grind-athon mid-point that just churns out "I am Ylem". Lyrix to this song are superb. By the time "Planispherium" rolls around, your cranial capacity to absorb Wormed's angle of attack has exceeded it's limit. More amazing gutter-crunch slam grooves w/ supporting hyper-speed double kick underneath will have the grimace on you in no time flat. "Pulses in Rhombus Forms"..Man, do these super-slams ever end? The highlight of this song is actually not the chunk break, but the escalating emotional guitar whirlwind vortex at midpoint. "Dehydrating" employs creative use of "harmonizing" and layering guttural vocals, proving you can werk w/ more than one level of vocals down in the pig-grunt area. Wormed is a band w/ undeniable potential and could very well change the face value of brutal death. I see very good things in the future for this band provided they "stick to their guns" w/ their very refreshing and in-depth plunge into the cosmic world and equally refreshing latin type feel to their percussive work in their weighty blast of brutal death. Werds of caution to lots of you however: This is not for your every-day metal fan. The sheer ultra-brutal status and ultra-ill vox may be enough to shun away fans of happy-go-lucky melodick death, and power metal and black metal fans you can look elsewhere. Without a doubt, Wormed is for fans of the "extreme" punishment factor. Reviewed by Daniel Staige / METALREVIEW.COM BACK TO TOP

NECROMANCE MAGAZINE

Pedazo de álbum debut que nos presenta esta banda madrileña! Bajo el nombre de "Planisphaerium", nos ofrecen un total de 8 temas de pura brutalidad al mejor estilo americano. Para los que no conozcáis la banda deciros que este grupo editó en 1999 el Mcd "Floating Cadáver In The Monochrome" y un promo cd de un tema en 2001 titulado "Voxel Mitosis", ambos bastante bien acogidos en la escena. WORMED en cuestión toca un Brutal Death técnico, alternando partes ultrarápidas unidas a otras mas pesadas y contundentes, voces ultragorrinas acojonantes que se te meten en el tímpano durante días!, decir también que la producción ha mejorado notablemente, es un sonido más "entendible" y limpio que en sus anteriores trabajos, se ha notado el fichaje por el sello japonés Macabre Mementos, al igual cabe destacar la buena presentación del álbum. A lo dicho si te gusta el Brutal Death americano con influencias de DISGORGE (USA), DEVOURMENT , GORGASM, BRODEQUIN y demás... no pierdas la oportunidad de hacerte con este disco! Además apoyando a la escena española que está demostrando la calidad de sus bandas dentro de la música extrema! Reviewed by CARLOS B. BACK TO TOP

FLESHRITES

Want the sickest band on Earth?. Want the most technical brutality unleashed in the way of four sick guys playing hard and fast their instruments?. So, you were waiting for the new Wormed work.This spanish ultra brutal combo started out with "Floating Cadaver In The Monochrome" some years ago, and then shocked all spanish scene due their mega brutality. After that the single track cd titled "Voxel Mitosis" was out, an effort for continuing being name on the scene while they were composing this new and mega sick work, that finally was out through japanese Macabre Mementos. 8 tracks on intense, relentless, mega sick, superb, brutal death with inhuman low vocal frequencies, totally deranged and with unstoppable and arythmic riffs, some of them new and original, but for sure twisted as a tornado that blast out your window. If you don't believe me, just take a preview of the first track available on their new website, and then, if you want the sickest of the sick, want to play this cd as loud as your brain will explode. Mega brutality in the vein of Disgorge (usa and Mex), CBT, Circle Of Dead Children, Christ Denied, etc. A must!!!! Reviewed by JM BACK TO TOP

GRINDEAD WEBZINE

I know that this is a very anticipated release for many who are into this maybe odd, but for sure brutal and good genre (I'm still talking about death/grind/gore =)) and finally by the help of Macabre Mementos, Wormeds debut album is finally released. Before I put the cd into the stereo, I first took the chance to look over the booklet and its not very often that I see bands like in this genre that puts some kind of effort and work into making a professional and good-looking booklet, perfect design and the lyrics starts off where their previous demos ended, space and its mysteries once again. Not really that I understand that much of the lyrics, but I although like to read them and for every time I read them I find out new details that makes me understand a little more about what Wormed is all about, and of course, its nice to read something else than gore/porn lyrics for a change. Musically, things have turned a bit more progressiv and technical, but still catchy, brutal and groovy as their previous works. They finally have what they deserved, a good soundproduction and that has made a lot for Wormeds music, although the drums could have been a little higher on the mix (they sometimes turn a bit low when the drummer speeds ahead into really fast grind, but the sound of the bassdrums are just perfect with a lot of punch.) Phlegeton is better than ever, really agressive pigstyled grunts that is pretty variated and going deeper into low inhale vocals. One thing that I mentioned in the review of Wormeds first demo, was the very good and catchy groove parts,here they are even heavier and better, really slammy and they really stick to you, definantly the same style as Devourment, Repudilation etc. and it will get you off your feet in no time. Looking at what I have written, I dont really know if there is so much more to add, I have listened to this album for a week or two and I must say that this is one of the best debut fullengths that I have ever heard. I also would like to say with all the Devourment/Disgorge-clones entering the scene every now and then, its good to hear a band that in someway has a style of their own and adds something new and fresher to the underground. Also, perfect length, not to short, not to long and there is also a cool thing in the second that I wont mention here! This album gets 5 out of 5. Wormed has released one of the best releases ever and I must say that 2003 has been a good year for brutal music in general. THis is a very recommended release that will be enjoyed by everyone who likes brutal stuff that has a style a style of their own (at least I think so). Reviewed by Ulf BACK TO TOP

REVIEWS : VOXEL MITOSIS

DFLESHED ZINE

A single track promo release from cosmic Death Metal group Wormed, forming a stopgap until their full-length on Macabre Mementos in early 2003. Demonstrating a clear progression in terms of instrumentation and composition, Wormed offer a four minute snapshot of their current development, showing particularly an increased calibre of percussive innovation, complementing cyclic riffs very much in the Suffocation vein. The music is bass driven in a similar style to Disgorge (USA), whilst the minimal usage of straight blasts is reminiscent of Craig Smilowski's work in Immolation. Lyrically I believe this work furthers the process of galactic metamorphosis (see the interview for a better description) first began on Floating Cadaver... A slightly louder, fuller production would give the band the powerful, precise aesthetic they require to best realise their concept; yet for work still in the formative stages, this release gives an interesting and exciting hint at what the long awaited full length holds. More importantly it also sees a band beginning to carve out and explore their own artistic niche. Rating: 8.5 / 10 Demo Tombstones BACK TO TOP

BEYOND ESCHATOLOGY

Esta promo CD compuesta por un tema, "Voxel Mitosis", no es nueva, ya lleva tiempo rulando por ahí, pero vamos a hablar un poco de ella... El tema en cuestión fue grabado y mezclado en Mayo de 2001, y sigue el camino marcado por su demo CD debut "Floating Cadaver In The Monochrome", un Brutal Death cañero, aplastante, retorcido,...Aquí se percibe como la banda va creciendo día a día, en tecnica, composición, compenetración entre los diferentes miembros,...y fijate en que ha pasado un año desde la grabación de esto, así que imaginate como pueden estar las cosas en estos momentos, si los has visto en directo recientemente lo sabrás...Y pensar que aun hay gente que piensa que para hacer buen Brutal Death hay que ser americano... Reviewed by Jose BACK TO TOP

REVIEWS : FLOATING CADAVER IN THE MONOCHROME

DEATHGRIND WEB ZINE

Here's a very cool demo M-CD by these crazed Spaniards. There seems to be alot of quality coming from Spain's direction these days, and this new band is proof that there's still more to come. The general feel of this album reminded me of their fellow country-mates, Fermento. Wormed utilize the same brutal and insane style as the afformentioned band, so in other words, this is pretty relentless, semi-technical brutal death. Pretty straighforward stuff most of the time. Nice and grinding, with some great gurgling vocals. One pretty unique thing about these guys is the subject matter... It's all about mathematical space and dimensions, weird stuff, but it somehow fits in with the 'precision' of the music. The sound production is THICK and full of bass. This thing almost blew my speakers appart! The palm muting is deadly, the sound is enough to make them vibrate, I had to put extra screws round the back of my speakers to stop them from shaking all the time. Well, anyway, enough of my personal escapades in do-it-yourself. This M-CD kicks ass. Really something worth looking out for... Expect a killer full length soon, hopefully. Review from DeathGrind Webzine This band is from Spain, but they seem to have that Brutal New York deathgrind style down. It's a pretty safe bet that they whorshipped Suffocation, Immolation, and some Incantation thrown in. They have some pretty cool riffs, but we've all heard this before. Alot better, and alot worse. The drums could stand to be louder, but the guitars sound killer. Deep ass vocals of corpse, no screams. They have alot of cathcy mosh-type parts, and cool blasts, but nothing to jump up and down over. Reviewed by Demonic E. BACK TO TOP

THE ARSONIST REVIEWS

WORMED Floating Cadaver in the Monochrome - - - - New comer in the Spanish today’s scene that signed on Macabre Mementos lately and I’m not the slightest surprised by that because it is exactly the genre of bands that fit to Macabre Mementos. Musically, apart from the sound in general which is far from being that extraordinary, one can easily apprehend the avalanche of blast beating brutal death metal that WORMED just fucking rules in. I don’t think there exists so much bands as brutal as them in Spain. You can expect a cross between DISGORGE and DEVOURMENT as far as brutality is concerned. The design reminds me VIRULENCE at all, a sort of space-structure focus. Yeah, it is that. BACK TO TOP

ANOREXIA ORGASM WEBZINE

WORMED is the Great new comer band from Spain. Phlegeton (vocals), Javier Oliver (guitars), Dani (guitars), Guillemoth (bass), and Andy C (drum) formed them in October 1998. They play brutal death metal with some difference style than the other brutal death metal bands. They combine technical playing, hyperblasting beats and some groovy parts. So it doesn't sound boring. And in the second song "Ectoplasmic...D.1" the rhythm become slow in the middle of the song for a while then come back with brutal riffs that make this song becomes a unique and interesting songs. The vocal is cool, horrible, I like it, guttural deep growling like a human is vomiting their bowels. This MCD featuring 5 trax with perfect sound recording and mixing. Right now, they still find record that is interested to release and distribute their MCD. And they have new songs, more brutal than these songs in this MCD for their newest album. So for record label... don't hesitate to sign with this fuckin brutal band... contract them right now!!!! For brutal fans... what are you waiting for... contact them to order this MCD now....!! Reviewed by Putra Pande BACK TO TOP

DFLESHED ZINE

"Wormed", the feeling one has upon realization that he is insignificant in the universal scheme: as a worm inside an intestine. It's from the crux of this nihilistic recognition that Spanish band Wormed compose five hymns highlighting the universal irrelevance of man, aesthetically choosing to expound upon the works of similar composers, such as Columbia's Internal Suffering, in their post-Suffocation muted chord structuralism. Taking this hallowed aesthetic, Wormed approach it with a respect seldom encountered in today's 'slam-death' crop. Lyrically the work deals with the creation of inter-stellar gateways, galaxy formation and other cosmic wonders and is written from an informed and distinctly scientific approach rather than the non researched, fantastical ramblings of Egyptology espoused by Iron Maiden on their Powerslave opus. A sadly rare occurrence then, in a genre typified by crude, mindless porno-gore lyrics, something unique, which has been created with thought and artistic intent. Musically scholars of the aforementioned Suffocation institute; the band link syncopated chromatic phrases with periods of intense, resonating chord progression which are reminiscent of those employed by Immolation. Vocals adopt more of a percussive role that an expressive outlet, yet the over the top delivery finds home in the other-worldliness of the concept - representing the timeless, astronomical events of the universe. The 'cadaver' is perhaps the listener, who has stumbled (or floated) unwittingly to a place where he is able to observe. Two minor criticisms: firstly the production, which spoils the otherwise technically sound playing with a sometimes overly loud snare, needs to be tidied up for the full length. Secondly, the inclusion of a few 'slam' riffs, although not over used, may increase accessibility, yet perhaps detracts from the conceptual whole by allowing the listener to identify with the music solely via the neck, rather than the brain. Hopefully Wormed won't fall prey to such genre cliches on the full-length. In conclusion then, a very promising demo from one of the few bands approaching this genre in an artistically unique and respectful way. The astrology concept avoids becoming overly pretentious or gimmick-like due to the sincerity and ability with which the lyrics are realized (especially in wake of the language barrier). Packaged excellently for a self-release, the artwork, courtesy of singer Phlegeton, is a stunning visualization of the lyrical subject and is testament to the band's hardworking ethos. Now established as creative leaders of the Spanish underground, we’ll have to see how Wormed translates this potential excellence into album form. Highly recommended... Rating: 8 / 10 Demo Tombstones BACK TO TOP

PHOBIA WEBZINE

There is something going on in the country of Spain. Death Metal scene is full of positive reviews of KEVLAR SKIN. My favorite band from this country was REINCARNATION, until I receive FLOATING CADAVER IN THE MONOCHROME. I must confess that didn’t wait for this CD, because nobody treats serious a band from scene without any traditions. It was a great mistake of mine. WORMED made me conscious of this fact. Death Metal maniacs should appreciate it. It’s 15 minutes of technically good, fresh sounded music. Those guys have a good workshop, which is visible since the first track. Their abilities are fine and they tend to play death. It’s impossible to name the best track, the whole stuff is extra. Those of you who like walls of sound will be satisfied, this CD is a solid death metal. They can create a superb material, no doubt about it. Reviewed by Chris BACK TO TOP

GRINDEAD WEBZINE

For a couple of years ago I got in contact with Guillemoth from Wormed and I got the chance to review them, but something happened and it took a long time before I got their first demo in the mail. Due to some personal problems, Guillemoth explained to me in a mail, but its good now and I got what I wanted. Five young guys from Spain comes out of nowhere and totally crushes with their first demo. The soundquality isnt the best, the drums are too low and its a little muffled in overall, BUT, its heavy and brutal as fuck. The music could be compared to Devourment, Repudilation, Disgorge (US) and Goretrade. Its a lot of diversion between furious blastbeats and ultraheavy moshpit parts that I would like to dance to for a lifetime. They have an acoustic passage in one of the songs that comes as a suprise, but as a nice suprise, very original indeed. The vocals are guttural and very deep, a nice present for someone you care about! The thing that really makes Wormed stand out from many other bands in the same genre, is their lyrics that are all about space, dimensions, black holes and stuff like that. Nice to see that not all bands of this type uses and worships gore lyrics. Their lyrics will keep you up late at night reading, ´cos this is very interesting stuff, at least I think so hehe. This is the only brutal band that I have heard from Spain, except for maybe Fermento, that I'm not ultrasure are from Spain, but I think so. On just four songs these guys have made a great expression on me and it would be nice to find out if there are any other similar bands like Wormed from Spain. This album gets 4 out of 5. Even if the production is crappy, I still enjoy what Wormed has offered me these short minutes. Some of the best stuff that I have heard for a while, sure to become something big in the underground scene! Reviewed by Ulf För ungefär ett år sedan, så snackade jag med Guillemoth som lirar bas i Wormed, om jag kunde få beställa en skiva med dom. Men det tog ett bra tag innan jag fick något svar i huvudtaget och jag gav upp hoppet. Sen så en dag, så damp den ner i brevlådan och där fick jag även med ett brev från Guillemoth där han förklarade att han hade brutit armen och helt enkelt inte haft tid. Men fan, no hard feelings, killen mår bättre nu och jag har fått det jag ville ha. Fem unga grabbar från Spanien kommer här och verkligen krossar med sin första demo. Ska väl säga att ljudet inte är det bästa. Trummorna hörs lite för lite, men det är ändå tungt som fan med mycket bas och tyngd. Musiken kan liknas vid arga gossar som Devourment, Repudilation, Disgorge (USA) och Goretrade. Det varieras ganska så bra mellan mangel och ultratunga mosh- partier som verkligen får mig att vilja bjuda upp till skön dans. Det kikar även förbi en akustisk passage i en av låtarna och det gör detta mer orginellt och bra, icke ofta man hör det. Packa även ner lite sjukdjupa och gutturala muller, så har du en fin present som du kan ge till någon du håller kär! Det som skiljer Wormed ganska så rejält från dom flesta dödsbanden är lyriken som inte alls lutar åt splatter, porr eller mördar hållet. Nej, nej, här snackar vi skumma grejer som olika dimensioner, svarta hål, rymden etc. Något som skulle få den som gillar underlig lyrik att ligga uppe länge in på natten och läsa med lykta och ljus. Detta är nog det enda brutal bandet jag har hört från Spanien, förutom Fermento (som jag är 95 % säker på att dom kommer från samma land som Wormed) och det är synd faktiskt. Hade det funnits mer band som på bara fyra låtar (+ ett bonusspår) som gör ett sånt här jäkla bra intryck på mig, så hade jag blivit förbannat glad. Låtar som krossar: "Ectoplasmic Iconosphere (D.1)", "Ectoplasmic Iconosphere (D.2)" och "Floating cadaver in the monochrome". Denna skiva får 4 i betyg. Med en inte alltför bra kvalité, men ändå med en ofantlig tyngd, så visar Wormed upp sina spikförsedda nävar rejält. Detta kommer definitivt bli ett av dom där stora namnen i underground scenen! Maila Guillemoth för mer info: spectrafusion@yahoo.se. BACK TO TOP

taken from: wormed.net