Yup, still playing catch up from last year. Oh well, so it goes. Outer Heaven is a quintet of Pennsylvanian boys who are all about the death metal. Formed in 2012, they recently signed to Relapse Records(!) and last year put out their first full length, Realms of Eternal Decay to much critical and fan acclaim. While not topping many year end lists, they usually ended up placing somewhere in those coveted 10 highest spots. There’s something to be said of the power of everybody thinking your album rules hard, especially considering most of these people listen to and review countless albums, and sift through even more crap.
Hey y’all, here’s where I’m going to share what I’ve been listening to and really enjoying over the past week or so. I can’t guarantee that I’ll pump one of these out every single week, but hey, I’m trying new things. Ain’t that what life’s all about?
I can’t pretend that I’m reviewing a bunch of things that are constantly thrown at me and this list is what I’m reeeeaaaally listening to, man. I’m just a guy who picks albums off Spotify for one reason or another, listens to them, and writes about them. That’s it. So, it may be that my list of what I’m jamming that week is just what I’ve reviewed that week. Capiche?
We riding this OSDM train to the last fuckin’ station, fam. I’ve been listening to death metal for the past 48 hours straight it seems, so much so that Spotify is offering me up a Dinner With Friends playlist like it knows I’ve lied catatonic engulfed in a maelstrom of blastbeats and growling and that it really hopes I’m doing okay.
Obliteration is a Norwegian death metal band that’s been around for a hot minute, forming in 2001 and having four full lengths to their name. Cenotaph Obscure, their fourth album is the first I’ve heard of them since it seemed to climb the ranks of many peoples’ lists of the top albums of 2018. Now, we’ve already established that playing good, old fashioned death metal is fine as long as you’re ahead of the curve in some way. Necrot brought the riffs like nobody else, and Depravity were gut bustingly heavy enough to release albums that stood out among the enormous swathes of average, boring, and played out death metal albums that have been cropping up for literal decades now. Obliteration seems to have garnered praise for their fusing of traditional OSDM and the niche skronks and atmosphere of sci-fi leaning bands like Timeghoul (maybe the best band name ever) and Demilich (still awful, fight me), as well as their incorporation of black metal speed and tremolo picked riffs. Sounds like quite a cocktail, but I cannot stress how much of a dummy I am, so let’s see how these Norwegians stack up to these ears.
On this new musical journey this blog is going on we’ve been to to darkest reaches of space, to the underbelly of New York City, and straight into the bowels of Hell itself, so strange and unusual destinations aren’t outside of our options when exploring this vast new world of writing too many words describing things nobody cares about. Now let’s enter the dark fantasy realm of Hyboria!
Conan, for the uninitiated, is a crushingly heavy doom band from Liverpool, England. What does “crushingly heavy” mean, exactly? Well, for starters, they tune their instruments to drop F, which means the guitars come in just a hair higher pitched than a standard tuned bass, and Conan‘s bass sits nearly a whole octave below normal. Old interviews reveal that they tirelessly obsess over the gear they play and maintain it as thoroughly as possible to retain every last ounce of volume and bass response as possible to create the heaviest, biggest sound possible. As someone who dabbles in amplifier worship, I gotta respect that hustle.
New year, same old shit. The world’s all jacked up, go listen to death metal.
Depravity (no, not that Depravity) are an Australian brutal death metal band who have been gestating down under until they hit the international underground scene this year with their debut full length Evil Upheaval. While having kind of a dopey name for their first album, Depravity do make the statement that “this is what Morbid Angel should have sounded like today”. Bold claim. I ain’t gonna defend Morbid Angel‘s subpar output as of late, but implying you’re going to be putting out a sequel to Covenant twenty-five years later is one hell of a flex. Could it be possible?