THE TRVE POST - El post de lo extremo v2

Buen death melódico en la onda de Amon Amarth, Amorphis o Be'lakor:

El disco de Tech Death del año

El disco de Tech Death del año

Que recuerde, a mí me han gustado estos:

Spoiler: Mostrar

Lunar Chamber, a hitherto unknown being of mysterious consciousness, now present in the physical realm for the first time with debut manifestation ‘Shambhallic Vibrations’ , a tale of a journey eastward in search of enlightenment and what may lie beyond.

Ensconced in mysticism, the 5 track nearly 30 minute pilgrimage advances unflinchingly through insane crushing riffs, bewildering solos, tranquil acoustics and illuminated ascendent melodies. “Spirit Body and the Seeing Self” details the start of the journey, self analysis, and the attempts at launching oneself into said “beyond,” while “The Bodhi Tree” is a mirroring tale of Gautama Buddha himself, having meditated underneath it in Bodh Gaya approximately 2500 years ago, attaining enlightenment.

“III. Crystalline Blessed Light Flows… from Violet Mountains into Lunar Chambers” is the ultimate pinnacle of the tale. Having reached a spiritual plane, pulses of light and dark; the very fabric of space-time itself churns. Knowledge is abundant here. Eventually, one is brought full circle, right back where everything began in normal life; albeit with a new sense of everything. But there is so much more to learn… a yearning thirst.

Offering a deluge of jarringly brutal metal, overwhelming progressive physicality and instinctively accomplished memorability inspired by Buddhism, the East and esotericism, Lunar Chamber have just begun their quest of ascension and enlightened knowledge.

Spoiler: Mostrar

Rannoch unveil their new opus, “Conflagrations”, a 52 minute cut of untamed evolution. Accompanied by Australian drumming legend, Dan Presland (Ne Obliviscaris, Black Lava) the seven tracks contained within open up new levels of musicality, punishing aggression, melancholic refrains and winding aural avenues of dark depths and complexity. Produced by Ian Gillings and mixed by James Stephenson (Cradle of Filth, Onslaught, Ghosts of Atlantis) “Conflagrations” represents a new hybrid of progressive death metal.

Spoiler: Mostrar

New York City based SARMAT introduced themselves to metal audiences with the intoxicating "Dubious Disk" live EP, which showcased their extreme metal and jazz influence as well as their creative prowess. This blending of dissonant, progressive, and improvisational elements foreshadowed the group’s expressive possibilities as they push sonic boundaries with their progressive sci-fi metal. Their debut full length, “Determined to Strike” shows a fiercer and more extreme side. The progressive tech death metal soul of SARMAT is here combined with dizzying jazz fusion scores, to deliver an enthralling and magmatic album to which Colin Marston's mastering work gives dynamic and powerful sounds.

Convulsing guitars, devastating drums and Steve Blanco’s (IMPERIAL TRIUMPHANT) thunderous bass and elegant piano notes move in unison; the sound itself is like overwhelming and unspeakable horror… Pure cosmic chaos! If this disconcerting hybrid between DEFEATED SANITY and WEATHER REPORT weren't enough to jeopardize the listener's sanity, the coup de grace comes from the vocalist who is author of a capital performance that alternates scratching screams and death grunts. Not to mention the contribution of a handful of inspired guest musicians such as Cameron Carella and Jerome Burns on trumpet, Ed Rosenberg III (KILTER) on soprano and bass saxophone and Matt Hollenberg (CLERIC) on guitar. These allied combatants add incredible sonic depth to what is already an aural assault on the senses.

SARMAT is ever evolving and “Determined to Strike” is merely phase 1 in a 3 part conceptual cycle which weaves together music, lyrics and textures. The title represents the band's resolve to complete the album despite all of the impositions on artists by the events of the early 2020s. The conflict is interstellar and the adventure begins here.

Spoiler: Mostrar

Upon the release of the first full length album ‘Entropic Reflections Continuum: Dimensional Unravel’ it was instantly revealed that VoidCeremony were treading a path few walk. The album proved that Death Metal can be performed with the gliding, controlled chaos and smooth fluidity of a jazz quartet, while still leaving the listener holed up in a dungeon, low on HP, out of spells, and surrounded by deadly demons.

‘Threads of Unknowing” is a journey which resurrects concepts on earlier display and summons evermore progressive and technical compositions. Mastermind and guitarist/vocalist Garrett Johnson and guitar virtuoso Phil Tougas (Atramentus, Chthe’ilist, Worm, First Fragment) share both vocals and lead guitar duties here, while bass god Damon Good weaves both fretted and fretless bass mastery and drummer Charlie Koryn encompasses not only speed and brutality, but a fine mix of precision and improvisation from jazz fusion. The end result is VoidCeremony and their signature sound: Time-melting Death Black Fusion.

With an apt cover painting representing the lyrical and philosophical vision of an ancient and forgotten future, VoidCeremony itself seems to be operating on an alternate Death Metal timeline that once made itself known, but only briefly, and was soon left behind for more commercial appeal. Yet the portal has been re-opened and the merging of these boundless possibilities and directions are now being brought forth directly once again.

Post-black en la onda de Deafheaven y Liturgy:

Post-black en la onda de Deafheaven y Liturgy:

Este está muy curiosón.

Hay que meter también a los Ulthar en el podium death del año

Muy bueno esto, me han recordado a los Spectral Wound. Madre mía el segundo tema, qué sobrada.

Sale el 18 de Agosto, muy buena pinta.

A ver si voy revisando lo puesto en el post, que no me da la vida.

Me ha gustado. No es un disco rápido como creía que sería pero las melodías de guitarra y la atmósfera le dan un punto extra de calidad. Lo rescataré durante el año.

Más death técnico/progresivo de este 2023. No se está quedando un mal año en lo que al estilo respecta. El de Horrendous (que está un poco más arriba en esta página) es brutal, de lo mejor que ha salido sin duda.

Spoiler: Mostrar

As we all know, in progressive music there is a fine line between instrumental proficiency and bare ass wanking. The art of remaining tasteful while performing crazy acrobatics on your instruments is hard to master, but on their third full-length album Mechanical Fiction, St. Louis-based progressive metal outfit THE GORGE master the challenge with ease. Born from their shared love for heavy music and 20 years of experience in playing together, THE GORGE consists of four jazz musicians who use the project as a creative outlet besides their day jobs as session musicians and music educators. Triangulating the chaotic yet groovy energy and the guitar masterclass of Botch with the riffage of Mastodon and the nimble instrumental intricacy of Animals as Leaders or Intronaut, Mechanical Fiction is an immensely ear-pleasing collection of tasty riffs and complex compositions that are nonetheless free-flowing like a river smoothly carving its winding path through a rugged landscape.

Straddling a wide range of musical influences, Mechanical Fiction is an affair between four lovers of complex and heavy music. From the dazzling math rock complexities of album opener «Synapse Misfire» to the tapping acrobatics of «A Decision Was Made», the whole of Mechanical Fiction exudes the pure joy these musicians must have felt while composing these tracks. Just following along the fast-chugging mid-section of «Beneath The Crust» which leads to the beautiful surprise of a glorious choir hailing the sunrise, or just rocking out to the glorious riffing that kicks in after some blistering blast beats on «Presence» are just a few of the ample examples of memorability and pure face-melting bliss on Mechanical Fiction.

“Mechanical Fiction refers to the mundane ways in which we proceed through our lives”, explains guitarist/vocalist Phil Ring. “Living out routines because that is what we are supposed to do, we constantly go through the motions, telling ourselves that everything is okay.” Scratching the surface, THE GORGE protrude pure fun combining tasteful guitar wizardry with giant grooves and a keen sense of songwriting, but delving deeper into the record and especially into the lyrics will lead to the discovery of unexpected emotional depth. “Dealing with the loss of loved ones to mental illness weighed heavily in the lyric writing process for me”, continues Ring. Shifting across the lyrics in his massive baritone growl, THE GORGE frontman brings to life pure desolation and grief on songs like «A Decision Was Made» or «Earthly Decay» making them not only pack a punch musically, but also emotionally.

Nevertheless, among the scattered ashes these musicians always manage to fnd a spark of hope that ignites a fame of joy. The title track hearkens back to that time when fusion solo guitarists like Tosin Abasi and Plini became big names, but in contrast with these skilled axemen, THE GORGE are less concerned with virtuoso soloing and more with repetition and structure. The statically pounding mechanisms of Meshuggah-style riffing and singing are artfully interspersed with surprising moments of pristine melody, which reflect the two-faced nature of this record. The low-key “jazzy” mid section of «Earthly Decay» is a subtle moment in which the band’s musical pedigree shines through, but it’s actually in the artful buildup through the different sections towards a gnarly finale that really shows the compositional skill of these guys.

With their third full-length album, THE GORGE take you on a giant voyage of discovery from which an incredible amount of joy can be experienced. Besides being wizards at their instruments, the quartet from St. Louis also prove to be incredible composers who know when to shine and when to take a step back, which is a rare feat in progressive music these days. The final track «Wraith» offers a sublime moment in which the band’s compositional skill and emotional lyrics come together to offer one last opportunity for respite and consideration. Among the giant synthesizers, slow syncopated riffing and dying screams we are all laid to rest with our faces towards the sunset. Having come to the end of a life’s journey, THE GORGE ofer us the thing that we have all longed for: release from the bonds of our Mechanical Fiction.

Spoiler: Mostrar

As promising as their debut EP was, the evolution that FLESHVESSEL have gone through is unbelievable. Starting from an avant-garde death metal base, with "Yearning: Promethean Fates Sealed" they transform into a formidable progressive metal machine able to break down any fence between genres. The basic fuel is always extreme metal, often with a death metal orientation, but the instrumentation has been enriched with acoustic guitars, viola, piano, flute, ocarina, harp, glockenspiel and trumpet, greatly expanding FLESHVESSEL's sound spectrum and pushing the music towards ambitious goals.
The transition between furious black/death metal and magniloquent progressive/symphonic scores is sudden but perfectly coherent, a sign of the degree of maturity reached by the band, which sounds like the absurd cross between PHLEBOTOMIZED, KAYO DOT and VAN DER GRAAF GENERATOR.

Wrapped in a stunning cover painting by Carlos Agraz, "Yearning: Promethean Fates Sealed" is essentially a record about humanity's struggle against itself in seeking out the betterment of our world. "We all know Prometheus as the Titan who stole the gods' fire and brought it to humanity," FLESHVESSEL explain, "and was thus punished for his betrayal. The album title uses this well known myth as an allegory for humanity's seeking of enlightenment, creating a better, more accepting world, and the fight against itself to reach that goal." An overarching theme that is viewed through various lenses throughout the album, such as those of the cyclical nature of war, class conflicts, manipulation, and personal mental struggles.

"Ultimately there is no Titan that will come to save us, lift us up from the grime and dirt," FLESHVESSEL conclude. "It has to come from within ourselves to unseal our fates, and open our hearts and minds to goodness."

Telita:

El nuevo de Incantation tambien rula ya, y que voy a decir, que grandes

Grand Cadaver is:
Stefan Lagergren: Guitar (The Grifted/ex. Treblinka/Expulsion)
Alex Stjernfeldt: Guitar (Novarupta/Let Them Hang/CHILD)
Daniel Liljekvist: Drums (Vordor/Disrupted/ex. Katatonia)
Mikael Stanne: Vocals (Dark Tranquillity, The Halo Effect)
Christian Jansson: Bass (Pagandom, Dark Tranquillity)

"We never even planned to release a full-length album, and here we are with our second! "Deities of Deathlike Sleep" was conceived and recorded with the same mindset and the same team as our previous recordings, keeping it quick, spontaneous and enjoyable. This time it turned out a bit more dynamic, with the pummeling fury interspersed with some doom, gloom and darkness. But still, it's simply ten tracks of Swedish Fucking Death Metal, the way we love it"

- Grand Cadaver