Bulgaria’s Serpentine Creation are one of those extreme metal bands whom seem to become more assured with every release. While they’ve not necessarily become any more melodic, it is easy to hear how their music has become grander with the passing of time. Their 2012 debut album ‘Dystopia’ featured some fairly straight black metal, played quite well but let down by budgetary constraints. Three years on, ‘The Fiery Winds of Armageddon’ was afforded a bigger send-off, with clearer separation between the instruments. The band showing a broader musical palate on those tracks, too, with some great solos and twin lead sounds to balance out the heavy pneumatics. More than just a stop-gap, 2016’s ‘Incest’ not only continues from where the previous recordings left off, but also introduces more new ideas.
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EDxKEMPER – Cut Her Head And Love Her
Back in 1986 when the seeds of grindcore were sown, it seemed to take extreme music to a whole new level. Often with a raw sound and fairly low budget, the fusion of extreme thrash metal and blistering punk sounds in the hands of bands like Napalm Death and Extreme Noise Terror created something almost beyond music – a form of short and sharp brutality that was utterly visceral. For something that seemed so niche, grindcore flourished with scenes popping up all over the globe. With bands like NAILS keeping it alive in the twenty first century, almost thirty years on from Napalm Death’s genre-defining ‘Scum’, it couldn’t just be written off as a novelty.
Greek grinders EDxKEMPER are absolutely devastating on their 2016 release ‘Cut Her Head and Love Her’, as they mix the brief bursts of noise from those genre pioneers with more of a crust punk aspect and some extreme metal heaviness for good measure. What’s perhaps most impressive here – without anything resembling actual songs – are the production values. Whereas you might expect something of this nature to hang on to some fairly primitive origins – much in the way an early Crass record could be seen as a snapshot of an afternoon – the production/mix on this disc is stunning.
CONCEIVED BY HATE – Death & Beyond
By the beginning of the 1990s, Sepultura had put Brazil firmly on the metal map. While their audience grew significantly with the release of their third full length album ‘Beneath The Remains’ in 1989, it positively exploded with 1991’s ‘Arise’. That album was not only the very pinnacle of the music the then young band had sought to create, but also one of the best thrash releases of the era. Decades on, Seputura’s influence can be heard running through the hearts of many underground Central and South American metal bands – most notably Harvest. Whereas many have sought to emulate the raw thrash of ‘Beneath The Remains’, El Salvador’s Conceived By Hate look farther back, still. On parts of their second full-length LP they cull a definite influence from the Seps’ ‘Bestial Devastation’ and ‘Morbid Visions’ releases, which mixed with their own ideas, crafts an unholy sound that blends extreme thrash and death metal with superb musical results.
NORDWITCH – Mørk Profeti
Originally featuring members from the Ukraine and Hungary, NordWitch formed at the beginning of 2015. Although firmly selling themselves as blackened death metal, it’s only ever really frontwoman Masha’s vocal style that holds them to that, since so many of the tunes on their debut ‘Mørk Profeti’ have more variety than your average blackened death band. For starters, none of this release is blighted by the cold sheets of sound so often associated with black metal; the band much prefer to concentrate on classic contemporary death styles, but take things further by mixing those traditions with the melodicism associated with early In Flames and the more extreme elements of Soilwork.
EVIL REBORN – Throne Of Insanity
Formed in 2012, Venezuela’s Evil Reborn play a brilliantly constructed form of melodic death metal crossed with the heaviest strands of groove metal. Their third release, ‘Throne of Insanity’ – their first for Russian extreme metal specialists Satanath Records – is a belter. It might not be particularly original, but in terms of what Evil Reborn do, you’ll be hard pressed to find it done any better. Across the album’s nine tracks, the riffs are enormous, the amount of bottom end crunch is equally as ferocious and frontman Victor Chaparro settles upon a vocal style which – much like Lamb of God’s Randy Blythe – retains just enough clarity among the growls not to be an instant turn off.