Cannibal Corpse - Live Cannibalism (2000)

 

Formed in 1988, Buffalo born/Tampa raised Cannibal Corpse helped found, manipulate and transcend the very boundaries of death metal beginning with the scandalously controversial debut, Eaten Back To Life. Raising the eyebrows of inquisitive metalheads and incensed parents and politicians, the record - produced by Scott Burns at the now renowned Morrisound Studios - was more extreme and confrontational than anything the metal genre had ever known. As a result of the band's brilliantly gruesome cover art, grisly lyrics and song titles like "Hammer Smashed Face," "Meat Hook Sodomy" and "Addicted To Vaginal Skin," follow-up records Butchered At Birth (1991) and Tomb Of The Mutilated (1992) were met with further contempt by the likes of such organized censorship leagues as the PMRC. In just three years, the sale of Cannibal Corpse merchandise was (temporarily) prohibited in Australia, Korea and New Zealand (in fact, the sale of Butchered At Birth and the performance of those three records is still forbidden in Germany). But dissuaded they were not.

Proving technical dexterity, diabolic vocal grunts and a penchant for serial killers, zombies and gore of all shapes, sizes and textures, Cannibal Corpse won over the hearts of many a metal extremist and have since become a harrowing household name. Since the bands inception they have sold millions of albums world wide and show no sign of slowing or bowing down to the ever changing metal genre. Massive tours throughout the U.S. and Europe as well as Australia and South America only underscored the band's staying power…and all this with zero commercial radio presence and minimal video play (although the band did appear in the Hollywood blockbuster, Ace Ventura - Pet Detective).

The momentum continued with the 1996 release of Vile, the first Cannibal record to feature former Monstrosity throat George "Corpsegrinder" Fisher following the departure of Chris Barnes. Any skepticism over the new voice behind the mighty Corpse was quickly put to rest. Simply put, Vile slayed from beginning to end and became the first ever death metal record to enter the prestigious Billboard charts. Over the next few years, relentlessly touring, bolstered musicianship and progressively more potent recordings saw the band increase in popularity within the underground and beyond.

After the mass success of 2004's The Wretched Spawn and some personnel changes (longtime guitarist Jack Owen fled the band in 2004 to carry on his commitments with his rock project, Adrift. Origin axe-master Jeremy Turner filled in for the band during their remaining tours that year before Malevolent Creation/Hate Plow/Solstice guitarist Rob Barrett, who played on Cannibal Corpse's infamous releases The Bleeding and Vile records, rejoined the band as a fulltime member.), Cannibal Corpse has returned to the Death Metal frontlines with the pungently eloquent majesty that is Kill.

Simply titled but meticulously assembled, Kill was recorded with producer Erik Rutan (Hate Eternal/ex-Morbid Angel) at Mana Studios in St. Petersburg, Florida. The tenth record of their storied career, each track basks in its own claustrophobic abrasiveness and maniacal subject matter. From the onset of the fiery "The Time To Kill Is Now," guitarists Barrett and Pat O'Brien, vocalist George "Corpsegrinder" Fisher, bassist Alex Webster and drummer Paul Mazurkiewicz pummel with a renewed sense of urgency. Fast, furious and scrupulously timed, the tune is a palpable reminder that Cannibal remains a force to be reckoned. "Make Them Suffer" sears with an old school Possessed vibe (a band to whom Cannibal has paid homage to on several occasions), while "Necrosadistic Warning," replete with a barrage of blistering solo work by O'Brien whose guitar deftness is often underestimated, comes riddled with visions of zombies sexually gratifying themselves with the body parts of the beings they've slain. Other tracks like the telling "Five Nails Through The Neck," "Death Walking Terror," "Brain Removal Device" and instrumental closer "Infinite Misery" see the five-piece at their most cogent, both lyrically and musically.

-Tracklist:

1. Staring Through the Eyes of the Dead     04:14
2. Blowtorch Slaughter     02:37
3. Stripped, Raped and Strangled     03:39
4. I Cum Blood     04:12
5. Covered with Sores     03:44
6. Fucked with a Knife     02:26
7. Unleashing the Bloodthirsty     04:13
8. Dead Human Collection     02:40
9. Gallery of Suicide     04:11
10. Meat Hook Sodomy     05:11
11. Perverse Suffering     04:21
12. The Spine Splitter     03:31
13. Gutted     03:26
14. I Will Kill You     02:48
15. Devoured by Vermin     03:39
16. Disposal of the Body     03:41
17. A Skull Full of Maggots     02:33
18. Hammer Smashed Face     04:46

-Line up:

• George "Corpsegrinder" Fisher: Vocals
• Jack Owen: Guitars
• Pat O'Brien: Guitars
• Paul Mazurkiewicz: Drums
• Alex Webster: Bass.

Label: Metal Blade Records.

Recorded live on the Death Metal Massacre 2000 tour on February 16, 2000 at The Rave in Milwaukee, WI except tracks 3, 5, 6, 12, 15 recorded at the Emerson Theather on February 15, 2000 in Indianapolis, IN.

  

 Mixed by  Colin Richardson.

Mastered at Oasis Mastering by Eddy Schreyer.

Booklet is a also uncensored 6 panel poster, Cover is a single panel 'insert'.

Artwork by Vince Locke.

Krisiun - Arise from Blackness [Comp] (2012) + Black Force Domain (1995) Reissue [2013]

Once in a while during a band’s career, there comes the moment when you look back and reevaluate your body of work. Such self-criticism can either lead towards an overhaul of one’s stylistic palette or increased awareness for what you truly are. Considering Brazilian death metal brothers Krisiun, such an analysis can cause quite a dilemma. Active since 1990, and renowned for such furious classics as the rabid “Black Force Domain” (1995), 2000’s constantly blasting masterpiece “Conquerors Of Armageddon”, and the merciless yet memorable “Southern Storm” (2008), the band’s trademarks have always been insane tempos, almost inhuman drumming and Lemmy-like roaring vocals negating any sense of ‘hooks’ or ‘melody’. And, let us face it – while Krisiun have become extremely technical and more varied in terms of grooves and rhythms over the years – they are forever committed to deliver the full-on-death-metal -assault that made the group legendary in the first place. Still, after 2015’s “Forged in Fury”, Alex, Max and Moyses realized a different approach was necessary. “It was a bit of a complicated album,” singer/bassist Alex Camargo admits. “There were more slower parts on it and it was also quite long. We still stand behind it 100%, but we doubt it is what Krisiun’s essence is about.”

Thus, for “Scourge of the Enthroned”, Krisiun’s 11th studio album, the group decided to head for a faster and extremely savage record again. Clocking in at an intense 38 minutes – counting in the bonus tracks “Forged in Fury” was almost an hour long – it was also due to producer Andy Classen’s input that “Scourge of the Enthroned” became a real monster: “Working with Andy at Stage One Studio again, felt like coming home. We stayed at his musician’s apartment for almost a month and we all concentrated on capturing an honest, almost live kind of vibe and trimmed the songs harder than on the last one.” Located in the countryside close to German city Kassel, the landscape helped immensely during this period. “There was no distraction at all, that place is in the middle of nowhere and apart from barbecuing with Andy we just worked on the songs like madmen.” Once the album kicks off with the title track, Krisiun’s newest opus hits with an urgency and immediate force that even harkens back to the debut! “You mean the ‘Black Force Domain’ riff in ‘Demonic III’, huh? That song is about the band and our history. After all these years, we felt it was about time we do our own anthem and a riff like that is a bit of a throwback for us and the fans!” In terms of sound, however, the band did not bring back the uncontrolled roughness of “Black Force Domain” yet had a distinct mindset when starting the recording process: “We interpret the album title as us being a scourge for all the plastic death metal out there. You are listening to human beings here not a computer!

All has been recorded and played naturally, and while you can hear all details, it does not go for this ‘American’ sound that is so lifeless and sterile. It is a very organic and heavy album and I think that connects it with the spirit we already had on the debut.” Indeed, sir, and it offers a whole bunch of highlights as well! From the Slayer-like screeching solo opening ‘Devouring Faith’, to the neck-breaking ‘A Thousand Graves’ and rhythmic complexity of ‘Abysmal Misery (Foretold Destiny)’ over to the album’s epic finale ‘Whirlwind of Immortality’, the latter being another track connected to the artwork by Eliran Kantor (Testament, Hate Eternal, Incantation) as Alex explains: “The song is about the Anunnaki, who appear in Sumerian mythology, judging the fates of mankind. Often they are portrayed as seven figures, we have only three appear on the cover since it connects well with ‘Demonic III’.

As Krisiun is about to celebrate its 30th anniversary in 2020, it’s only fair we now appear symbolized as ancient death metal gods on the cover, haha!” Lyrically, the album however does not dig too deep into myths as Camargo confirms: “We deal with religious fanaticism, war, and the tragedy of the refugees, who flee from the fighting in their home countries to end up drowning in the sea or being treated like dogs in the western countries. Reality offers a lot of topics to write pissed off death metal!”

Asked what plans Krisiun have for the months to come, Alex promises a release show in Essen (Germany) on September 7th, a global live onslaught and invites everybody to check out “Scourge of the Enthroned”, revel in its violent glory and adds: “We are one the few three piece bands out there, delivering it tight, loud, raw
and real!”

 

 

Century Media 998252-2  |  Century Media 9982502


Arise from Blackness (2012)

 1. They Call Me Death     03:00
2. Unmerciful Order     02:35
3. Crosses Toward Hell     02:51
4. Agonize the Ending     02:59
5. Summons of Irreligious     02:53
6. Meaning of Terror     02:14
7. Infected Core     03:48
8. Insurrected Past     00:44
9. Rises from Black     03:44
10. Sinner's Scorn     03:50
11. Evil Mastermind     04:34
12. Prophecies of the Plague     03:51
13. The Dead Are Rising Up     03:11


 • Alex Camargo: Bass, Vocals
• Max Kolesne: Drums
• Moyses Kolesne: Guitars (lead)
• Mauricio Nogueira: Guitars (rhythm) (tracks 1-3, 5-7, 9)
• Altemir Souza (R.I.P. 2002): Guitars (rhythm) (tracks 10-13) 

 Label: Century Media Records.
 Limited edition, Black disc.
  Tracks 1-9 taken from "Unmerciful Order" .
Tracks 10-13 taken from "Curse of the Evil One" (split LP with Violent Hate).

 

 

 

 

 

Black Force Domain (1995) Reissue [2013]

 1. Black Force Domain     05:19
2. Messiah of the Double Cross     05:02
3. Hunter of Souls     04:04
4. Blind Possession     03:46
5. Evil Mastermind     04:20
6. Infamous Glory     02:06
7. Rejected to Perish Below     04:45
8. Meanest Evil     04:22
9. Obsession by Evil Force     03:44
10. Sacrifice of the Unborn     04:00

Bonus track:
11. Nuclear Winter (Sodom cover)     05:31
12. Total Death (Kreator cover)     03:14


• Alex Camargo: Bass, Vocals
• Moyses Kolesne: Guitars, Keyboards
• Max Kolesne: Drums.

 

  Label: Century Media Records.
 Recorded and mixed at Army Studios (São Paulo), March / April 1995.
Remastered at DMS, Marl.
Co-produced by Krisiun.

 17.9.2002 Sala Anoeta, Vigo (Esp)

 

Endstille - Dominanz (2004) Reissue [2008]

Endstille is a black metal band from Germany. It was founded in 2000 by L. Wachtfels (guitar), Mayhemic Destructor (drums), Iblis (vocals) and Cruor (bass) in Kiel. L. Wachtfels and Mayhemic Destructor had previously played in the band Tauthr, while Iblis and Cruor came from the band Octoria. They describe their music as "ugliest aggressive black metal with the fire-speed of an MG42 and the power of heavy ship-artillery". The lyrics refer, to a large extent, to personal experiences and opinions of the band members. In its self-manifestation, the group refers to well-known German weapons from the time of World War II. This, in addition to the band's lyrics, is sometimes seen an indication of a right-wing extremist affinity within the band. Endstille clearly dissociates itself from such labels, explains to have no sympathies for right-wing ideas and says black metal "is in its principle unpolitical".

In spring 2006, Endstille embarked on a highly successful European tour headlined by Dark Funeral and Naglfar, and supported by Finnish death metal band Amoral.

In 2009, Vocalist Zingultus (Nagelfar, Graupel) replaced Iblis.

RR 133

-Tracklist:

1. Dominanz     04:25
2. Instinct     05:05
3. Conquest Is Atheism     03:49
4. Monotonus III     03:42
5. Bleed for Me     04:54
6. Monotonus     05:22
7. Witch     03:16
8. Worldabscess     03:16
9. Crucified     04:22
10. Endstille (Feindfahrt)     08:44

-Line up:

- Iblis: Vocals
- Lars Wachtfels: Guitars
- Mayhemic Destructor: Drums
- Cruor: Bass

Label: Regain Records.

Recorded at JAKs Hell March 2004.

The cover presents a German warship of WWII (probably "Bismarck" or "Tirpitz").

 

 

Sepultura - Chaos A.D. (1993)

 

Chaos A.D. was a watershed moment for the Brazilian group. Not only was it their major-label debut, it was the album with which they burst out of the conventional thrash. Inspired by hardcore, punk, tribal music and extreme metal, Sepultura were determined to make an album that would set them on a new musical path. But it was producer Andy Wallace who helped them get there. First, the band relocated to Phoenix and spent months writing songs. Then, in order to break routine, Wallace arranged for Sepultura to record the album in Wales at Rockfield Studios.

Once he took hold of the material the band had written, Wallace helped them restructure and refine the songs, come up with new experimental ways to express themselves, like adding the heartbeat sound of Cavalera's unborn child to the beginning of "Refuse/Resist" convincing drummer Igor Cavalera to add a Brazilian tribal pattern to the beginning of "Territory" and working with the band to track a trenchant version of New Model Army's "The Hunt."

Sepultura worked so hard on the music that they didn't really think too hard about naming the album. At first, frontman Max Cavalera decided to name it Propaganda after the sixth track on the record. It made sense since there were songs on the album about censorship ("Slave New World"), organized religion ("Amen") and governmental conspiracy ("Biotech Is Godzilla"). But as the deadline approached to get the album title to the label's art department, Cavalera nixed Propaganda and replaced it with Chaos A.D. — a title he came up with thanks in part to his collection of punk records. "I thought about the Misfits album Earth A.D. and I decided to mix it with the word 'Chaos,' because that is the state of the world we were living in. The record company was freaking out because I turned it into them at the very last second. But it's a much better name than Propaganda."

 The tribal instrumental "Kaiowas" was recorded inside Chepstow Castle in Wales.
When Sepultura hired Wallace to produce the record he insisted the band record the album at Rockfield Studios in Wales. On the way to the studio, Sepultura passed Chepstow Castle — the oldest surviving post-Roman stone fortress in Britain — and Cavalera decided he wanted to record the tribal acoustic song "Kaiowas" inside the building. "I thought it would be so cool recording in a Welsh Castle and it was," Cavalera said. "Andy made it happen. He got all the gear and cables in there. And the place we did it in didn't have a ceiling so when the song starts, when you listen with headphones real loud, you can hear all these fucking seagulls flying around."

The title of "Refuse/Resist" was conceived during a ride on the New York City subway.
One day when he was in New York riding the subway, Cavalera was intrigued by the eccentric characters on the train. One, in particular, caught his eye — an African American man wearing a black jacket decorated with words from a political speech. He liked the punk-rock vibe of the outfit and used the last three words as inspiration for the punk-inspired album opener. "It said 'refuse and resist,' so I used that for the song and then I wrote very simple lyrics: Chaos A.D./ Tanks on the street / Confronting police/ Bleeding the Plebs. They're Discharge-oriented lyrics. I listened to a lot of Discharge at the time and they're as simple as it gets. The songs are like two lines that are really powerful and fucking killer. Even today, 'Refused/Resist' feels like riot music to me."

Dead Kennedys frontman Jello Biafra wrote the lyrics to "Biotech Is Godzilla"
As a longtime fan of early punk-rock bands, including Black Flag, Bad Brains, Circle Jerks and especially Dead Kennedys, Cavalera was excited by the idea of having DK frontman Jello Biafra contribute to the album. He didn't want him to sing, he just wanted lyrics. "I don't think Jello is a bad singer, I just think his lyrics are so great. They're so sarcastic and smart. So I asked him to write the lyrics and he said, 'What should I write about?' I said, 'Anything you want to, man.' So he came up with 'Biotech is Godzilla,' which is about the 1992 Rio Summit, where all these politicians got together and talked about technology. Jello's big theory was that AIDS was invented by scientists in laboratories. It was a disease created by us."

While touring for Chaos A.D., Cavalera was arrested at a festival in Sao Paulo, Brazil, for allegedly desecrating the Brazilian flag.
In 1994, Sepultura were rocking out at a festival in their native land in front of 20,000 people. It seemed like the ultimate homecoming – a celebration of all they had achieved since they burst out of their Brazilian town Belo Horizonte in 1988. But the party came to an abrupt end when someone in the crowd tossed a Brazilian flag onstage. "I picked it up and held it up to the crowd to symbolize Brazilian pride, but I got arrested because someone at the venue said I stepped on the flag as a protest against Brazil," Cavalera recalls. "Suddenly there were 20 cops in my dressing room and I'm being taken to jail and charged for being anti-Brazilian. The story kept growing and growing. People starting saying I spit on the flag, and then I pissed on the flag, and finally, they were saying I shit on the flag. I called my grandmother and she said, 'Why did you have to do that with the Brazilian flag?' And I said, 'Grandma, I didn't do anything with the flag. I just held the flag. Everything else was all invented!'"

 

RR 9000-4

 

-Tracklist:

Side A:
1.     Refuse/Resist     03:19
2.     Territory     04:47
3.     Slave New World     02:54
4.     Amen     04:27
5.     Kaiowas     03:43
6.     Propaganda     03:32

Side B:
7.     Biotech Is Godzilla     01:52
8.     Nomad     04:58
9.     We Who Are Not as Others     03:42
10.     Manifest     04:46
11.     The Hunt (New Model Army cover)     03:59
12.     Clenched Fist     04:57

 

-Line up:

- Andreas Kisser: Guitars (lead, 12-string acoustic), Viola caipira
- Igor Cavalera: Drums, Percussion
- Max Cavalera: Vocals, Guitars (rhythm, acoustic)
- Paulo Jr.: Bass, Floor tom.

 

Co-produced by Sepultura.
Recorded at Rockfield Studios, S. Wales, England.
"Kaiowas" recorded at Chepstow Castle, S. Wales, England.
Mixed at the Wool Hall Recording Studios, Bath, England.
Mastered at Sterling Sound, New York, NY.

 

Graveyard & Terrorist - Graveyard / Terrorist [split 7''EP] (2009)

 -|-  G R A V E Y A R D  -|-

July 2007 - Julkarn and Bastard started fooling around with the whole Graveyard thing a long time ago. They had always discussed about the possibility to develope a band / side-project in order to worship and show respect toward those bands they hailed since they were teenagers like ENTOMBED, ASPHYX, DISMEMBER, SLAYER, CELTIC FROST, EDGE OF SANITY, AT THE GATES, VENOM, AUTOPSY, CARNAGE.

-|-  T E R R O R I S T  -|-

Terrorist a Bestial Thrash band cast out from El Paso, Texas. Formed in 2005 by founding member Freddy Terrorizer, the band is a quartet with Freddy Terrorizer on Bass and Vocal duties, Alien Morbidfeast on Lead Guitar, Yogi Von Bloodlust on Rhythm Guitar, and Putrid Bobby on Drums. In 2006, the "Satanic Propaganda" demo was self-released by Terrorist on cassette. This demo received much attention in Mexico, which sparked the interest of EMF records to sign a deal to release Terrorist's first full length. Terrorist later released their second promo/demo "Blessed by the Beast/Satanic Propaganda" in 2008, to promote their first full length released that same year titled "Blessed by the Beast" on EMF Records. After a good crowd response and successfully touring parts of Mexico and the U.S. Terrorist released two split albums, one with Graveyard on IronBoneHead Prod. and another with Bestial Reviler & Bestial Torture in 2009 with Atomic Carnage Rec. After prolonged touring in the United States, Terrorist then prepared material and hit the studio for their second full length released via Morbid Metal Records in 2013. 

 

 

-Tracklist:

 Side A:
1. Graveyard - Howl of the Black Death      03:59
2. Graveyard - Ritual (live)     03:49

Side B:
3. Terrorist - Onward Destroyer     02:51
4. Terrorist - Blessed by the Beast     04:14

 

-Line up:

Terrorist:
• Freddy Terrorizer: Bass, Vocals
• Cesar Thrashing Hammers: Drums
• Daniel Desekrator: Guitars (lead)

Graveyard:
• Gusi: Drums
• SBE: Guitars
• Bastard: Guitars
• Julkarn: Vocals, Bass, Guitar.

 

 

Label: Iron Bonehead Productions.

 Limited edition to 500 copies.

Graveyard:
"Howl of the Black Death" was recorded in June 2008 at the Moontower Studios. "Ritual" (Live) was captured on March 1st live at Sala Seattle in Sabadell (Barcelona) on Graveyard's debut show. Produced by Graveyard.

Terrorist:
All music composed by Terrorist.
Recorded in July 2008 at Siege of Power Studios, Hell Paso, Texas.
Executive producers C.P.L. Productions.

 

 

 

 

 

 

-|-  G R A V E Y A R D  -|-

 

 

-|-  T E R R O R I S T  -|-

Satanic Warmaster - Nachzehrer (2010) Tape [2015]

The monument of "Nachzehrer" 2010 A.S. sees Satanic Warmaster to return to its oldest battlegrounds, the mythology of European vampiric nightbeings which carried through years of torment the shades of witchcraft embedded in the deepest layer of the human subconscious. Even though christ had abolished the pagan temple, the beast was growing stronger with each drop of consumed blood. And as apocalypse bides nearer and the cold mist descends on the depths of the woodland, the warmaster rides out with vengeance once again. By the power of Lucifer, those who do not wear the mark shall suffer and perish...

 

 

-Tracklist:

Side A:
1. Intro     01:58
2. Satan's Werewolf     05:21
3. Vampires     05:12
4. Warmaster Returns     06:38

Side B:
5. One Shining Star     06:35
6. Bestial Darkness     05:07
7. Rotting Raven's Blood     05:51
8. Utug-Hul     03:55

 

-Line up:

- Werwolf: All instruments, Vocals, Lyrics (tracks 2-7)

 

Label: Tour de Garde 

Recorded at Satanic Metal Temple on four analogue tracks between the vernal equinoxes of 2009 and 2010 Anno Sathanas.

Lyrics by Werwolf (tracks: 2 to 7), Nachttoter (track 8).

The nachzehrer is a type of German vampire which features prominently in the folklore of Germany’s northern region. According to legend, it needed to devour both its burial shroud and body in order to survive. The word nach may be translated into English as ‘after’, whilst zehrer may be translated as ‘living off’. This combination of words alludes to what the nachzehrer is believed to be, i.e. a creature that lives after death, or a being that lives off humans even after its death.