SARCOFAGO’S Decade Of Decay was initially released in 1995, and official copies of it are virtually impossible to find anywhere… until now. Bearing a total of 20 tracks spawned over the band’s career, this reissue of the compilation album weighs in with over an hour and twelve minutes of blasting SARCOFAGO mayhem and debauchery, and even includes three songs from the Satanic Lust demo, two songs from The Black Vomit demo and two songs from the Christ’s Death demo. This represents the first time that SARCOFAGO demo material is available officially. The entire reissue process for this compilation album has been overseen by SARCOFAGO’s Wagner “Antichrist” Lamounier himself!
The first release in a series of SARCOFAGO albums set for official reissue through 2012 and beyond, the first stateside release of Decade Of Decay will take place in North America on June 5th as a 6-panel/full color digipak CD imported directly from Brazil, featuring a full-color fold-out poster with information on all of the songs included. The packaging features never-before-seen photos from SARCOFAGO throughout their various stages, going from INRI all the way to the Hate album. An ultra-limited deluxe 2xLP edition is to be released later in the Summer with details to be confirmed shortly.
Decade of Decay Track Listing:
1. The Lost Of Innocence
2. Orgy Of Flies
3. Hate
4. The God’s Faeces
5. Song For My Death
6. Midnight Queen
7. Screeches From The Silence
8. Piercings
9. Crush, Kill, Destroy
10. Nightmare
11. Rotting
12. I.N.R.I.
13. Desecration Of Virgin
14. Recrucify
15. The Black Vomit
16. Satanic Lust
17. Christ’s Death
18. The Anal Rape of God
19. Satanas
20. Third Slaughter
Florida-based Greyhaze Records is now the official North American distributor for Brazilian label Cogumelo Records. Cogumelo is well-respected throughout the extreme metal world, having been founded over thirty years ago, and having released a steady arsenal of quality death, thrash and grind from acts including Sarcófago, Mutilator, Holocausto, Sextrash, Impurity, Chakal, Psychic Possessor, Ratos de Porão, Vulcano, Headhunter DC, Drowned, Defacer, Calvary Death and more. Cogumelo was responsible for the initial release of the Sepultura’s seminal first three albums — Bestial Devastation, Morbid Visions and Schizophrenia — now exclusively under license to Roadrunner Records.
http://www.greyhazerecords.com
http://www.facebook.com/greyhazerecords
http://www.cogumelo.com
The debut album of Jess and the Ancient Ones now available for pre-ordering as CD and LP. Will be released on May 19 and shipped the day before. Featuring Antti Boman of Demilich and other talented stalwarts of the Finnish uebermetal pool. Rumored to be psychedelic/funeral doom crossover.
There is no “Houston sound,” but Houston bands are converging on a sound that is pure old school doom/death metal with a tendency to praise Satan. Part of it must come from living in the Bible Belt, surrounded by heavy refinery machinery and the incessant roaring of traffic. Another part may be that mythological hell is actually in Houston. Hell is described as a blazing hot place full of demonic beings, horrible stench and infernal rage. If you’ve ever driven on I-45 during a Friday afternoon…
I am calling this new genre post-black-metal. It is the spirit and mood of black metal, the rhythms of 1980s EBM and industrial, the samples and collage technique of martial industrial, the atmosphere of neofolk, the sweeping epic point of view of soundtracks, and that sense of world music evoking the spirit of ancient tribalist folk songs from Europe that Dead Can Dance had going. Mix all this together, and you get a new genre which has a few members such as Kreuzweg Ost, later Burzum, Arcana, Lord Wind and even the Beherit ambient albums.
Legendary cerebral primitive black metal cabal Beherit are on the move again. The new release, Celebrate the Dead, involves one song from the epic 2009 release Engram, and one song assembled from material prepared for that album. While information on it is scarce, rumor has it we see Beherit continuing the direction toward an ambient/metal fusion.
Midsummer’s sylvan possession will claim many lives tonight by drowning, stabbing, hanging and other morbid rituals that cloud the light of the greatest Finnish celebration. It can be said that the spiritual conflict between the barrenness of the Finnish urban life and the sudden plunge into the freshness of nature undertaken by most at this time of the year, combined with the gargantuan intake of alcohol, causes a temporary collapse of the veil of the civilization, when festivals end as festivals must. Under the deceptive tolerance of the society, dark depths boil and murderous impulses become sublimated thoughts. Some of these undercurrents were illuminated and analyzed almost as topics of transcendental philosophy in the dark contemplative statements of Finnish Death Metal, one of the strongest musical movements that ever arose from Finnish soil and also unarguably one of the strongest Death Metal scenes of the period. It is a testament to creativity that it’s still very hard to pin down a certain easily recognizable ‘Finnish sound’, but this does not mean a lack of mental images connecting them.
Visitors remembers the Western shores of Finland mostly from their warm summer days, windstorms and chilly nights of Autumn. The dunes of the shore of Yyteriare unique in the whole Scandinavian region while most of the towns carry relics of past industries but have failed to establish themselves in modern or digital age, remaining secluded communities with little vital attractions to the youngsters. Thus it is not surprising that towns such as the historic 
What force in the inner core of man gives birth to 
Valkeakoski
The good news is that it’s more clearly Vikernes writing this record. His previous voice, like his previous actions, seemed to get swallowed up by the notions of his “advisors.” As a result, previous albums did not sound at all like something he touched at all with his personality. This album re-engages his soul a bit more but remains a deliberate use of his talent to produce something cut to form, and the form is what is dictated by the audience. The result is to repeat the error of modern society over again: the people are led by economics or politics, instead of the other way around. While song structures vary somewhat, Umskiptar is designed around the verse-chorus model with melodic choruses and rhythmic, upbeat verses. Like many pasted-together projects, these are united with chromatic fills or conventional devices borrowed out of classic metal. While this album is not as cynically manipulative as the new Napalm Death, for example, it falls short of what made Burzum great, which was an innovative thinker opening up his mind and creativity to the audience. Like his mentor Tolkien, he took people on an adventure with what was and might be again. With Umpskiptar, the listener feels as if he is in one of those Disney-ride type “folk metal” bands that is mostly rock music with folk touches. Bands have been doing this since the 1970s… it has never succeeded, because people regress to the mean and in this case, it’s the archetype of rock and not folk. Vikernes’ early influences come out here, with muffled-chord riffs that sound straight off the first Destruction LP and what sounds like Iron Maiden influences. Musically, it’s adept enough that no part is offensive, and his use of three-part riff clusters as in traditional music is much appreciated, but it doesn’t add up. The whole is not greater than the parts and no atmosphere is created, thus the whole time we are aware that we are modern consumers listening to a modern musical product. Further, the riffs, tempi, themes and transitions are very similar, which in the absence of prior atmosphere does not cause a deepening but a sensation of floating on the surface. Many of the vocal tracks are entirely chanted in the death metal voice, which creates a ludicrous sensation of being yelled at by a drunk guy on the subway. By the time we get to “Valgaldr,” which sounds like an outtake from a bad stoner doom metal album, the lack of energy going into this album is evident. It’s ridiculous to expect an older musician to recapture his younger days. However, it’s equally ridiculous to sabotage a good musical brand by turning it from something rare and brilliant into something pedestrian with interesting “touches” and “accents.” That cuts to the real problem with this album and all post-jail Burzum: they’re boring. Not unmusical, but sparse in density with songs obviously patched-together “to be a song” and not to have any voice of its own. The new crop of teenagers he wants to sell albums to may enjoy this but it’s not distinctly better than its competition enough that it will endure as anything other than an SKU#.
In rock ‘n’ roll, it’s better to die young. Even that is a cliche, but so is rock itself. Formed when corporate investors found a way to combine blues, country, folk and pop into a single product, rock has no real soul and so it pretends. The result is a parade of cliches and you hope that if you change the order enough, you become the next Jim Morrison or Morrisey. The sad truth is that rock bands come in two types: the ones who have three albums worth of good ideas and then burn out, and the ones who make the same song over and over again when they run out of energy. If a teenage version of yourself ever walked into a record store and spotted the guy with thinning hair, faded tattoos, and a bunch of stories and even more excuses but no accomplishments, you know what the new Napalm Death is. This is the sound of exhaustion pretending it has vitality for long enough to sell the slop to the kids and move on. The songs are built around the same tired chord progressions, which are barely even progressions in any sense except chromatic patterns at convenient places on the fretboard. The rhythms and riff ideas come from past Napalm Death albums, with a few influences borrowed from older death metal scattered throughout. On top of this, the aged suit-wearing corporate rock Napalm Death throws a single “outside” nuance per song. One tries to imitate the noise/avant-jazz of the early 1990s. Another is halfway to being a Rite of Spring tune. Still another apes the blur-core aesthetic of the new style of grindcore. Others try to return to the bouncy glory days of Fear, Emptiness, Despair or Utopia Banished. Underneath the skin however there is a total lack of ideas or even the guts to just go ahead with something that feels right. This is a cynical, manipulative album hiding a plastic soul which just wants your cash. In aging into oblivion instead of dying young as rock heroes, Napalm Death have made a mockery of everything they stood for. By wrapping this in a trendy surface and trying to pull the works of classic death metal over them like a camouflage mantle, Napalm Death have created a gateway into this genre from the soulless and burnt-out. You have made us all hipsters. Avoid this horrible album.
Melba toast has a crunchy exterior, yet turns soft in your mouth. Lightly toasted, it is sweet upon contact with saliva, and will never upset your digestion. In fact, it is like baby food, except that it is crunchy. The new Terrorizer is baby food, true, but it’s awesome baby food. The band have focused not on innovation, not on a nifty surface, and definitely not on topic, since they’re beating the dead couch of the zombie album. What they did do was make something that’s easy to digest but unlike almost all metal released at this time, it’s coherent. Riffs fit together and make sense, even if a kind of pidgin. Rhythms mate effortlessly yet have enough variation to give depth to the compositions. Much of this is pure chromatic, but it captures the momentum of a good riot or fistfight. As a result, it’s easy to listen to and yet maintains its intensity throughout. If you can get over expecting something of emotional profundity like World Downfall, and instead look for the Terrorizer equivalent of Napalm Death’s Fear, Emptiness, Despair (or even Aura Noir’s Black Thrash Attack), you will find in this album a guilty pleasure. It throbs with aggression and yet by not attempting anything too complex, always manages to deliver. There is no attempt here other than to make an energetic, fun, musically-competent grindcore album and Hordes of Zombies rages supreme in this area. Oddly the only new influences seem to be a later Swedish death metal melodic tendency, and a study of riffs from the recent post-death metal era in which the punk riff and the recycled speed metal riff have crept back in. Wisely however Terrorizer keep their music extremely basic, along the lines of the first Brutal Truth album, but give it compelling rhythms and an underlying furor that makes us tune in to see how such violence can also be so much fun to listen to.
