Tag Archives: Technical Death Metal

Gutted- Martyr Creation

I’m admittedly late to the game in discovering Hungary’s technical death/grind outfit, Gutted but after seeing them destroy at Las Vegas Deathfest, I had to say something.  Their energy live blew me away so I found it fit to give them money and procure a CD.  I’m glad I did.  Martyr Creation is bludgeoning from beginning to end.

The CD starts with a dramatic intro entitled “Chaos of the Beginning”.  The remainder of the LP seems to follow the trajectory of a concept album based on the chaotic nature of creation itself.  “Cosmos of Humans” punches listeners in the face immediately following the slow build up of the intro and this energy continues throughout the album.  The sound on Martyr Creation seems to embody a sort of controlled chaos.  Tangible yet entirely insane, in a good way.

The album is heavy in a way that it forces listeners to take notice.  Technical elements are tasteful, however, and not difficult to digest or in any way distracting from the flow of the album.  The leads are prominently pushed to the forefront in production.  They maintain a melodic element while never losing sight of the chaotic theme of the band’s sound.  I really give Gutted credit for their ability to write technical riffs and leads without losing the emotional aspect in the process.  So few technical bands are able to achieve this.  The result is an LP that induces self-administered whiplash.

For the most part, Martyr Creation blast off into an endless fury of speed, energy, and blasts from beginning to end, in true grind fashion, but tracks like “Deeper than Hell” deviate a bit from the formula with a short break into a clip of spooky background noises and creepy, Children of the Corn like echoes.  This is the heart of the band’s originality.  Sándor Hajnali’s growls complement the fury of Gutted’s sound perfectly and the production is good in the sense that you can hear every instrument without losing the rawness of the band’s death/grind style.

My only complaint would be that, in some ways, the tracks seemed to meld together with one track indistinguishable from the next.  Although there were moments that stuck out.  The solo in “Fades Away” is utterly insane and the breakdown in “False Happiness” hits you harder than the belligerent fat dude in the pit.  Overall, this is a solid release from a band you should definitely be listening to if you’re not already.



Wormed- Krighsu


An instant slow burn quickly spreads out creating an overpouring of extreme filth. A steady stream of rapid beats and hell fire rushes across my frame of mind. Some parts of their music are pure eclectic but reasonable noise, other areas area dynamic over the top guitar riffs that rip and shred the living daylights, out of any soul that dares cross it’s path. The vocals are a fine tuned low trudging collection of mayhem at it’s finest.

As I listen on the violent melodies seem to shimmer and rock about in a careless yet death defying manner, without a doubt they are intense.

But they are also quite creative.  With their intros, they know just how to throw you off the beaten path. Song title selection itself seems like something from another planet. Lyrics can not be heard, but there is a terrifying passion that rules this album vocally. A nearly perfect heavy yet morbid creation seemingly sent from afar to destroy all life, and then it’s on to the next song.

They inject some slower moments filled with insane yet delicious tonal patterns. At times their music has an ‘off’ sound about it, especially with the dubbed in radio noise elements with inaudible speaking. Truly a strange musical wonder. Production quality seems top notch, these are some of the most powerful drum parts I have ever heard. The pace which never misses a beat just continues to pound away at my soul.

This has to be the weirdest fucking metal band I have ever heard. Their sound changes a bit into something more alien, though it’s very brief I would have liked more of that. I would have to say that Zeroth-Energy Gravton is my favorite track. I would have liked more of a mixture of that ‘spaced out alien sound’ thrown into their music, but what’s here is pretty good. The vocals were like a never ending juggarnaut of pain, that never did let up. Sometimes I did question the vocals I wondered hey, why not change it up? But then I thought, OK, this is some fierce shit, maybe that’s just what they are going for. Rabid, rough, and ready to kill without a moments notice.

Rating 9/10 by Patrick Wooten


Abhorrent- Intransigance


From the first few notes of this album, I remember having the thought that young metal heads are going to love this, and I’d better listen carefully. Cerebral lyrical themes, progressive hooks, brutal blasts, and low toned growls are the meat of this album. Somewhere there’s a dictionary for metal snobs with a picture of this album next to a description of brutal technical death metal. “Intrasigence” is the first full length release to come from this Texas foursome. Willowtip Records should really count themselves lucky to have signed a band capable of creating albums of this caliber off the cuff the way they did.

Intrasigence has a technical dynamic that’s reminiscent of early Gorod or Seplophile, mixed with the aggression of Lost Soul’s first demo. The band keeps things interesting by weaving in a subdued progressive resonance just beneath the surface. To avoid the redundancy that sometimes becomes commonplace in brutal tech, Abhorrent subtly implants spellbinding, melodic intros to a few of their songs and even features a Sabbath-esque, piano instrumental named “Clarity of Will” on the LP. The more melodic breaks are a welcome change and really break up the album in a unique and exciting way.

Particularly notable, were Nick Brown’s perfectly executed exhale vocals. Brown’s vocals are palatable belly growls in a world full of pig squeals. Even when he did let out the occasional pig squeal, it was done in a way that was neither trite nor redundant. But I think the real stand out feature on the LP, were Lyle Cooper’s expertly pounded drums. The blasts were truly incredible, a sound to behold. One more thing I really appreciated about this album was that the guitar solos, though technical, were not flashy or in the spotlight. This allowed for a fuller, and more brutal overall feel to be generated. Like many tech death releases, each song on Intrasigence did seem to run into the next, but the sound quality combined with the progressive elements made this album stand out amongst a sea of Necrophagist wannabes. Fans of Nile, Gorod, or Origin should check out Abhorrent. Intrasigance is a truly superior addition to the world of brutal tech death.



Evilheart- Quinquaginta


Bloodthirsty! Vile! Hate filled! Those are just three words that come to mind when I think of Evilheart’s newest release, “Quinquaginta”. Hailing from Mexico, these satanic Hispanics have been inducing head banging for sixteen murderous years and their latest release ensures that they have no intention of slowing down.

Despite having a slightly lackluster band name, Evilheart brings it hard on “Quinquaginta” with a sound that coalesces the classic reverberations of Brazilian masters, Krisiun, with the technical prowess of Morbid Angel, and the melodic undertones of early Hypocrisy. The album plays seamlessly, with one song flowing into the next in perfect harmony. Adrian Urias’ often thrashy solos break up routine in-between songs and avoid monotony and repetition. In songs like “Misanthropic Decree”, however, you’d think you were listening to some guitar worship, tech death shit. But the real stand out feature on this album is Rodolfo Rogers expert drumming.

Perfectly executed blast beats attack listeners within the first few notes of “Perfection Collapsed”, and peak in songs like “Rebellion”. Despite injecting an abundance of blasts into an already full, “wall of sound” so to speak, Rogers manages to keep the drumming tasteful and never overbearing throughout the album. I’m sure we can all think of at least one band that only knows how to do blasts. This is not that band. Of course, Jorge Millan sickening growls provide the perfect accompaniment to a killer, classic death metal album. And that’s what this is; death metal. No fucking tech, brutal, goregrind, Neandercore, or other bullshit hashtags used by pimply faced internet metal heads, music reviewers (like myself), or fifteen year old YouTube commenters who want to sound underground. No, this is strictly death metal, in the vein of Florida’s finest and Brazil’s most ruthless……except, it came out in Mexico.

As I stated earlier, this album seems to flow effortlessly from one song to the next. The title track, Quinquaginta, however is unique for several reasons. At 9:47 minutes long, it’s notably the longest track on the album. A magnum opus of sorts, this song employs orchestral elements, using piano and violin to enhance the sound. Don’t worry, though. We haven’t entered into symphonic territory yet. This song is still tough as ever, like a caveman biting into a half raw gazelle carcass. A definite hit, Evilheart’s “Quinquaginta” is circle pit waiting to happen. If this band isn’t already in your repertoire, add them immediately. You won’t be disappointed.





It’s always refreshing to hear a new band that sounds as though they’ve been at it for years. Hailing from the cold, Appalachian landscapes of Buffalo, New York, tech death outfit “Seplophile” is birthing a sound that is a throwback to the sounds of great 90’s death metal with a melodic edge and musicianship of the highest standards. Seplophile released their debut album, “Mesonoxian” on February 14, 2013, and the album rips harder than about 95% of the new releases this year. The band cultivates spellbinding melodies and amalgamates them with a sort of controlled dissonance that creates a sound capable of cracking open the sky.

With tasteful blast beating, well timed, melodic solos and brutal screams, Mesonoxian is an existential joyride for the senses. The album prefaces itself with an eerie instrumental entitled “Exhale All Life” and kicks you in the teeth without warning on the first full track, “Animos: Identity Crisis”. The first few tracks are classic death metal at its finest, albeit a little predictable, but not unforgivably so. The album really begins to take off around the sixth track entitled “Philosophiae Naturalis – The Portents of Ash-Shaytan I. Omen of the Adversary”, which is the instrumental prequel to a three part, nihilistic sermon of sound. At this point in the album, the listener is truly drawn in by Seplophile’s captivating melodies.

Even beyond the three part celebration of death, the album continues to hold one’s interest. Doom laden track “Fields of Stone” puts you in a bit of a trance with its emotional undertones and slow, clean riffing. Mesonoxian goes out with a bang with the title track, which is a shining example of technical ecstasy, still riddled with grit. Any breakdown found on this album is appropriate to the song, and never there for its own sake. Though the band is clearly intelligent, they escape pretentiousness with their stripped down attitude.  No overusing of keyboards, no samples, no frills, just pure unadulterated death metal.  Mesonoxian is breath of fresh air for the jaded metal-head of yesteryear.  You can purchase the Mp3 version of this album on Amazon and the hard copy of the CD directly from their label, “Butchered Records“. For now though, join me in the throes of nihilistic glory with Seplophile.  This is the seventh track off of the new LP, “Under Sifting Sands. Happy Listening.  Hails!



Hailing from my hometown, Cleveland, I am proud to present Inoculation.  I seldom get this excited about a new band, especially one fitting the description of death metal, but Inoculation is keeping things fresh with their newest release, Elysium.

Over the years, technical death metal has become engrossed in redundancy, with droves of Necrophagist wannabes polluting the scene and almost irritating arpeggiated riffing overpowering the sound, but Inoculation has toned it down a bit without losing their technicality and (more importantly) their melody. Elysium is a bit of a regression back to sounds similar to early Sadist, Katatonia or Revocation, with progressive undertones, brutal vocals and thrash-like riffing. With interesting lyrical themes, including alien abduction and the esoteric, Inoculation holds listeners captivated. The samples featured on the EP are appropriate, never redundant and cool (for lack of a better word).

Elysium is a scholarly ride through Area 51, that immediately sucks listeners into a wormhole of speed and progression. In six quick tracks, Elysium secures a crushing grip, met with an intoxicating melody. Some might complain that this has all been done before and it lacks a certain freshness that keeps things interesting. While the sound found here is all too common, anything done this well is still quite worthy of recognition.

Inoculation is still young and their sound is still hungry and perhaps a bit immature, but give this band a few more years and they will almost certainly hone a sound and audience all their own. The musicianship and production is impressive to say the least, especially for a new and unsigned act. It won’t be long before labels begin to take notice of this band. For now let’s remain ahead of the labels and take a trip to Roswell with Inoculation. Happy Listening! Hails!