Malicia – Silencioso Dolor Que Aniquila (2013)

Sandwiched between keyboard compositions which attempt to sound random while hiding a simple progression in notes that initially seem like tangential harmony, Silencioso Dolor Que Aniquila consists of moderately successful compositions using the language of Hellhammer but a sensibility more like a late speed metal band.

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Sadistic Metal Reviews: Halfway Through 2017 Hammer Farts


Sadistic reviews by Linus Douglas.

Sadly apart from Sammath, some other Dutch metal, and reissues, Hammerheart Records appears to publish many moronic releases produced by poor excuses for neurons in hopes of flooding shelves like every other larger metal label.

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Aversion to Advent Parallax


Article by Lance Viggiano. Read his take on Transilvanian Hunger here.

I was essentially swindled into purchasing the gorgeous gatefold edition of this Averse Sefira LP which showcases some rather magnificent and captivating artwork as well as an above average execution of the band’s themes, concepts, and symbolism in visual form.

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Interview: Jechael of Amon


Interview conducted by Max Bloodworth.

There has been a lot of interest surrounding the Hoffman brothers after their departure from Deicide. After some time under the radar, they reformed Amon with Jechael on bass and vocals to once again make death metal. Amon’s album, Liar in Wait, sounds like a mixture of old and later era Deicide with a different vocalist. Judging by how Deicide has pretty much rendered themselves irrelevant after the Hoffman’s departure, the potential for good death metal is in the Amon camp more than the Nu-Deicide camp. Below is an interview with Jechael, the bassist and vocalist of Amon.

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SJW Panic Causes Label To Drop Retro-70s Heavy Rock Band Dream Machine

According to The Daily Dot, 1970s heavy dark rock with metal influences band Dream Machine has been dropped by its label, Castle Face Records, for “controversial” statements regarding feminism and immigration.

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Graveland Live In Poland On April 29, 2016


by Max Schoenbach

For metalheads who have listened to the studio output from Graveland over the past twenty-five years, experiencing a live version feels odd and uncanny, and definitely “new.” That the band will be struggling with unattainable heights it established for itself is obvious. When seen in Poland on April 29, 2016, other dimensions of the experience revealed themselves as well.

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