Album Review: Putrescine / Kosmogyr — “Desolate Tides”

Whenever bands come together for a split, it fulfills two major conditions: it showcases their hard work in a unique way outside of the standard album idea, and it shows whether the two bands in question are able to find common ground in their music or if they’re too wildly different. A split that recently did this was Towards the Nameless Darkness, which found common ground in how both bands approached making black metal. On Desolate Tides, the new split between Putrescine and Kosmogyr, they not only find common ground—one bound by the sonic influences, emotional trappings, and the never-ending cycle of (musical) rebirth—but show a certain camaraderie that I don’t see that often with splits.

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Album Review:  Behemoth — “Opvs Contra Natvram”

Sensational satanists and extreme metal trailblazers, Behemoth, are back with their twelfth studio release Opvs Contra Natvram.  Each of the ten tracks brings hellfire with face melting riffs, abrasive vocals, killer drumming, and all the energy and attitude of a live performance.  The album title meaning “going against the current” perfectly summarizes the intent of this release which is to give a big “fuck you” to the destructive propensities in popular culture and social media.  It would not be a Behemoth album if it didn’t raise a few eyebrows from passersby and act as an righteous piece of rebellion.  This release is something only Behemoth could have created and it is not to be missed.

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Album Review: Bloodbath — “Survival of the Sickest”

Bloodbath - Survival of the Sickest

If you needed any more evidence that Bloodbath were serious about getting back into the vintage, old school death metal sound that catapulted them into the metal conversation as more than just a “supergroup” take a look at that album title. It’s not enough that Survival of the Sickest, the band’s latest offering uses a sickly blue tint to stand out against the putrid, vomitous yellow theme of the album art, but – just like Molder earlier this year – we have that wonderful Arial font, complete with quotation marks. It’s indicative of the return to a deeper, squishier version of death metal, one that eschews its supergroup status to just get back to making some serious fun death metal.

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Erika Osterhout of Acephalix on their new album “Theothanatology” and much more!

Acephalix
Image courtesy of Adam Houmam

It’s been five years since Acephalix last graced the death metal scene and a lot has happened in that stretch of time. But, the band’s upcoming fourth full length, Theothanatology, is the kind of barbaric brutality we’ve come to think of from the now quintet, yet better, more furious, and nastier than ever. While it’s true we’ll have to wait just a bit longer to hear it in full, Buke sat down with bassist Erika Osterhout for a wide ranging discussion surrounding this new album, the meaning behind the title, and so much more. We now bring you this conversation in its entirety so grab your beverage of choice, a seat, and enjoy. 

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Album Review: I Am — “Eternal Steel”

In recently describing third full length Eternal Steel from Texas based I Am, “angry music for angry times” rolled right off the tongue in that conversation. And simply put, that’s exactly what it is. The world’s a dumpster fire of epic proportions, greed and deceit are at the highest level ever, governments are a joke, everyone’s dollar has been reduced to mere pennies, and we’re one step away from a bomb going off on a scale none of us can even imagine. Eternal Steel feels like that moment just before detonation, that second when shit gets real, and the destructive aftermath. All rolled into one very pissed off album.

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