Impetuous Ritual - Relentless Execution of Ceremonial Excrescence (2009)

For long-time listeners of alternative music that pushes towards the extreme, there might be a few instances when an artist comes around, chops up your confidence and shuts you down for a bit. Meaning that, as much death metal as you can ever listen, you'll never be ready for the monstrous entity that is Impetuous Ritual. And that's just one example.

The band originates from Australia and shares members with Portal (not sure which was first), and if you aren't already frightened, you should be. In a way, Portal is actually easier to decipher than this, even though that's not a metric for anything. 

Their debut Relentless Execution of Ceremonial Excrescence is so primitive and mad, with a dissonant, hypnotic atmosphere and exerting so much hatred, that going into a regular death metal album afterwards feels like trying cider after having ten shots of whiskey in a row.

The production is murky as hell, and the whole album is plain hell. Awesome riffs rise from the swamp every now and then, and bear-like vocals makes you question if these are humans or not, but not in the cute manner that it just sounds brutal. It is legitimately unsettling.

While it's a given you won't understand shit, the lyrics of the record are perfect. After you bury your head in the dirt, the music is too, and after climbing the learning curve that's required for Impetuous Ritual to make sense, this is one of the realest reasons why death metal is worth it as an art.

If you scratch it down to its singular foundational point, that's what all this probably sounds and feels like. Bestial, in slow or fast pace, as cold and desperate as an eternity in isolation. 

I admit I haven't listened to their later stuff as much as I should, but I have done so with this, and maybe I gotta take one album per five years not to turn into Di Caprio in Shutter Island. If you like this, probably no one likes you. In Flames and Soilwork come with better social stamps, but hey, the path you choose.

Yet deliverance is decay

Akercocke - Antichrist (2007)

I enjoyed Akercocke's return in 2017 with Renaissance in Extremis quite a lot, and I have raved with their side project The Antichrist Imperium (and especially their latest album Volume III: Satan in His Original Glory) more than most albums of the current decade, it's that awesome. Looking at the works of these guys for the last 25 years, one may think they are the most evil satanists on the planet. 

Yet, at the time of release of Antichrist, the band was shortly featured on BBC after it caught the attention of conservative Ireland due to an upcoming live show there, which you can watch here. Apart from the sound delay that damages communication between the musicians and the panel, which just adds to the overall situation, the back and forth argumentation is one as old as time. 

In lovely English accent, Akercocke explain that the fans love them and that they never meant to offend, instead they believe in freedom of speech and are against "censorship on any level" with a lot of key words thrown around without considering their magnitude.

I'd rather not talk too much about the specific album itself, this is incredibly forward thinking, unique and well delivered death metal that is instantly recognizable, and in my book this is the only band that has treated clean vocals fairly. They wouldn't top Words That Go Unspoken, Deeds That Go Undone from 2005 but no one can, yet Antichrist's quality shines.

More importantly, their stance in that video is simply disappointing, and so banal that it makes me wonder if these guys actually comprehend aspects they talk about, or is it all just teenage wondering angst without any actual maturity.

Akercocke clearly seeks to offend with edgy titles and lyrics, and playing dumb when Christian communities are offended by their material. You're turning your back on your work when you play the neutrality card, avoiding to stand by your own statements by adopting the safest, most superficial approach possible. Everything they said in that video is textbook pseudo-intellect.

Here is a snippet of another interview they did (available in full):

We also wanted to reflect the lyrical content in the imagery, hence a lot of the rather attractive young ladies that featured heavily in the Robert Nye version of Faust from where the band name came... and let's be honest, the ever-present sexism that is implicit in most heavy metal! Sex sells. So, we used it to sell. We weren't as sexy as the girls, haha!

Some other responses there also paint the picture of, well, essentially what being a poser actually looks like.

Man, these dudes may be even worse than Behemoth in that topic. Once you dare to take a step towards this anti-religious, blasphemous content, learn to support it when someone puts you in the spotlight. Or else, don't do it at all. Spooky covers, titles and lyrics don't scare anyone here.

Once again relevant:

Dripping - Disintegration of Thought Patterns (2002)

On their official website, Internal Bleeding claim they invented the term "slam" as a subcategory of death metal as early as 1993. That's quite some time before the arguably first pure slamming brutal death metal album was released, which is Devourment's debut Molesting the Decapitated in 1999. 

Voracious Contempt by Internal Bleeding had been released four years prior to that and definitely had some elements, yet it was with the latter that this whole idea got the popularity that it has. Of course, there was the Psychopathic Embryotomy demo by Afterbirth in 1994 (who have since reformed for the last ten years and are now doing fine things), the first Dehumanized albums, Pyrexia's influential Sermon of Mockery already out in 1993 as well as the Japanese Vomit Remnants, all active around the same time in the mid / late 90's.

If you're thinking this is just caveman, mindless death metal, like the younger brother of the family who's evidently a bit behind, you're right. That's most of slam brutal death today, and almost was like that from the beginning, by no means at the same level as full on old school death, or brutal death of the 00's. 

Right at that time, a really particular band made its appearance, and nobody noticed. As Cadaverment, they were active from 1999 - 2000 and then put out a mini-release as Dripping in 2001, named The Lost Archives of Channeling Expeditions Through the Cosmos EP, with a clear concept about space and science fiction. Already things are quite unusual.

The EP was quite noisy and pretty crazy in content, as tempos change constantly in dusty sound that's hard to follow and there's numerous sound usage selections that will make you, wonder. Diary of an ancient astronaut? Skydiving out of the hemisphere? The second track "Interlude of Astrophysics" has some rap beats in there, and the whole thing sounds like madness. Dripping were tripping.

In 2002, we get served the debut (full title: Disintegration of Thought Patterns During a Synthetic Mind Traveling Bliss), which is a continuation of the smashed EP from the previous year, but they have by now completely let go of any sort of reason. Elements of slam brutal death are in the forefront, but the record is so unpredictable and experimental, that this lightning in a bottle case feels surreal that such innovation can fit in such a dull sub-subgenre.

Every time you listen to this, something new comes up. Gargantuan grooves, battered electronic passages, brutally filthy production, hip hop to slam and back within seconds, unheard of signatures, preludes with acoustic guitars at the levels of Dissection, sudden piano / female opera singing, all maniacally glued together in what's either a random mess, or a masterpiece. I go with the latter.

Dripping's Disintegration of Thought Patterns is one of the most unique pieces of extreme metal I have ever heard, one that makes you change the way you see the genres it touches. Much like Sigh's early works or the EP / full length of Infester, the initial listen is an once in a lifetime experience. How was it when you first listened to Intellect Made Us Blind?

It seems the band is active since last year. Could that mean they're recording new stuff or is it just to play gigs around? After Brodequin's return earlier in the year, hidden hellspawns from the past decades come back with a vengeance. One at a time.

Kvaen - The Formless Fires

 

I had slept on this band. I saw Kvaen live last year and the performance blew me away, as I was not aware of the significantly above average musicianship and ideas contained in their previous record The Great Below. I got even more into them with their debut The Funeral Pyre, and became a fan basically right after that live show. 

 

Top-notch guitar lines, amazing solos and blasting melodic black metal patterns right out of Sweden's heart, The Formless Fires points fingers at legends like Necrophobic, Naglfar and Dark Funeral, but it has its own sound at the same time. I clearly prefer the fast paced moments of the album compared to the slower ones, but it's all in all very decent. 

 

The guitar work is once again a highlight for them, and it's a must for the fans. Hopefully the addition to a much bigger label like Metal Blade will give Kvaen the exposure they deserve. This album doesn't hold back at all.

Listen to  

The Formless Fires

Botanist - Paleobotany

 Avantgarde Black Metal / Experimental, United States

Spring 2024, Prophecy Productions

 

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On their twelfth full-length "Paleobotany", BOTANIST take us back more than 70 million years to a time when dinosaurs ruled the planet and early forests began to turn to coal. Before the age of giants ended in flames with the apocalyptic impact of the Chicxulub asteroid, many plants also grew much larger than their descendants that we know today. "Paleobotany" comes with all the trademark characteristics that set BOTANIST apart from all other metal acts on this planet. Lyrically, the band from San Francisco, CA revolves around species of plants – in a clean break from the usual genre stereotypes like Satan, dragons, and booze. 

 

Their music clearly has its foundation anchored in 'metal', but instead of 6-string guitars the Americans use 110-string hammered dulcimers. To the confused horror of traditionalists, BOTANIST fit these percussion-stringed folk instruments with magnetic pickups and distort them through various perverse means that range from amplifiers via analogue tape to digital manipulation. The resulting sound is as unique as spectacular. BOTANIST's continuing sonic evolution began at an audible Nordic black metal shaped point of entry. The band soon developed a more open, avant-garde style, leading towards a growing complexity. 

 

On "Paleobotany", the Californians have shed some of the more convoluted progressive elements in favour of more song-oriented arrangements that are still rich in details and surprises, which is enhanced through the album being mixed by renowned Swedish producer Fredrik Nordström (DIMMU BORGIR, OPETH, AT THE GATES) at Studio Fredman. BOTANIST are a unique band. "Paleobotany" expands their dark green sonic range of an avant-garde metal sound into a more accessible and dynamic sonic experience. When quadruped giants walked the earth, plants were already there and they will still be here when mankind has gone back to stardust. BOTANIST win their musical future by travelling millions of years into the past with "Paleobotany"!