Sinister + Scent Of Death + Noctem ┼ 2023.07.21-22 Kanekas XII, Cangas do Morrazo, Pontevedra

 

 

 

 

 

The blood and fire spewed forth onstage by Noctem is a visceral, fitting companion to their unrivaled sound, a vicious black metal assault enhanced with a signature Iberian flourish. Arguably the best-known extreme metal export from Spain, Noctem’s ungodly path put them in front of cult audiences around the world, across Europe, Asia, Russia, and North America. Frontman and founder Beleth graced the cover of the Spanish edition of Metal Hammer in 2018 as a “Héro” of the genre.
 
The first metal band from Spain to perform in China, Noctem’s unrelenting touring saw them team up with the likes of Marduk, Batushka, Napalm Death, Immolation, and many more over the years. Dozens of prestigious extreme festivals added them to their lineups, including Bloodstock Open Air (UK), Motocultor Festival (FR), Metaldays (Slovenia),
and many more.
 
The band unveiled its fifth full-length studio album, The Black Consecration, in 2019. New Transcendence declared, “The Black Consecration is a superb album, littered with secrets and enticing riffs,” making favorable comparisons to early Emperor and Dark Funeral. Metal Hammer Portugal wrote, “in this particular genre, it is perhaps one of the best Spanish works ever of its kind.”
 
Noctem follows that career landmark with a new, definitive masterpiece, merging the crushing cacophony of angry, adrenaline-fuelled lust with newfound sorrows and mournful melodic might. Credo Certe Ne Cras (“I Believe With Certainty That There is No Tomorrow”) is a work of art. The album demands to be experienced as much as listened to, invoking ritualistic examination.
 
As emphasized in the brilliant album opener “I Am Alpha,” Beleth conceived of Noctem over 20 years ago. It grew to monstrous proportions, embodied in the album closer “We Are Omega,” which celebrates the unstoppable lineup completed by Moss (guitars), Tobal (guitars), Varu (bass), and Voor (drums). The band and its ever-widening audience are legions, united in misanthropy and anguish.  

Credo Certe Ne Cras broadens its old-school-sounding predecessor's raw, filthy fury with bigger production and melody without sacrificing the frostbitten 200 mph winds of anger and blast beats.

 

 

 

 

 

 

 

 

 

 

 

Starting in 1989, Sinister was a band arising in the middle of the Death-Metal hype. Mike, André, Aad en Ron were joining forces and the Sinister sound was born. After releasing a demo, a promo tape followed. Sending out the promo to various labels resulted in signing up at Nuclear Blast Records, Germany 1991. Their debut CD ‘Cross the Styx’ saw the light in early 1992, and sold many copies worldwide.

Many live shows all over Europe followed. Touring with bands like Suffocation, Cannibal Corpse and Deicide increased the number of people knowing Sinister. In the years after that, Sinister succeeded in maintaining their popularity by releasing their second and third album ‘Diabolical Summoning’ (1993) and ‘Hate’ (1995) and doing many live shows all over Europe and a very successful 55 show-tour through all the USA. Starting in 1989, Sinister was a band arising in the middle of the Death-Metal hype. Mike, André, Aad en Ron were joining forces and the Sinister sound was born. After releasing a demo, a promo tape followed. Sending out the promo to various labels resulted in signing up at Nuclear Blast Records, Germany 1991. Their debut CD ‘Cross the Styx’ saw the light in early 1992, and sold many copies worldwide.

 

 

 

 

 

 

 

 

 

Setlist:

00. Intro
01. The Malicious
02. Transylvania (City of the Damned)
03. Blood Ecstasy
04. Neurophobic
05. Convulsion of Christ
06. Sadistic Intent
07. Epoch of Denial
08. Symphony Nr XII
09. The Science of Prophecy
10. Afterburner
11. The Carnage Ending
12. The Masquerade of an Angel
13. Deformation of the Holy Realm
14. Outro

 

 

 

 

 

 

 

 

 

 

 The history of Scent of Death begins in September 1998, when Jorge (ex-Suffer Age),and Carlos (ex-Osmosis), decide to improve their concept of Death Metal. On December, same year, Bernardo and Nuno (ex-Osmosis) joined the band. With Jorge and Bernardo on guitars, Carlos on bass and Nuno on drums, Scent of Death was born. In the beginning, conception of the first songs and many hours of rehearsals it's all.
The band began to record on September 2001, at Taller de Música, Ourense, Spain. As a result, they released their first MCD, entitled "Entangled in Hate", which was produced and edited by their own. Vocals were performed by Bernardo, assisted on high vocals by Jorge
At the end of November of the 2002, Scent of Death finds a new vocalist, Lois. With this new incorporation, the band plays a lot of gigs in Spain and Portugal from 2002 to 2004, playing in the most important underground festivals of these countries. In February 2004, Nuno leaves Scent of Death and the band starts the search for a new drummer. He was replaced by Alfred Berengena, drummer of catalonian Brutal Death Metal band Baalphegor, as a session drummer for the new album.
The band signed with Bloody Productions from Spain, in December 2004 for the releasing of Scent of Death´s first album. In January 2005 the drum sessions were recorded at Tribal Art Music Studios, Girona, and in March 2005 the band entered at GonSound Studios, in Vigo, to record, produce and master all the rest with Gonso Pedrido, one of the most important producers in the spanish extreme metal scene . The final result is a full-length CD of FAST, EXTREME AND DARK DEATH METAL, called "Woven in the book of hate", with a great production and massive sound. It was released in June 2005 through Bloody Productions. In 2007 a new drummer, Jorge, joined the band. The band starts the rehearsals and live performances, but in 2010 this new member leaves the band by several musical reasons
A new search begins for another drummer, finding the best and most brutal option in Rolando "demolition man" Barros, a legendary musician in the Portuguese underground scene. Lois is expelled from the band because of their lack of interest and he was quickly replaced by Sergio M. Afonso, who provides a higher degree of brutality to the line-up with his voice.
After six years, in September 2011, the band stars the recording of the new album, with the drums sessions by Rolando Barros at Brugostudio in Lisbon. In December 2011 the band recorded the rest of the instruments and vocals in a local studio. At the end of January 2012 the sessions was ready to be sent to the producer André Tavares, based in Lisbon, for mixing and mastering, with spectacular results in sound, performance and production. Finally in May 2012, the mastering was finished. The new album is entitled "Of Martyrs's agony and Hate" and is an amazing step forward for the band, evolving into darkness, technique and composition. The cover is a masterful piece of blasphemous art by Yumali Katani, from Metal Artist, and represents a reflect of the brutality inherent in the music of this work. The band signed again with Bloody Productions for a limited vinyl edition of the new album in 2013, and the Cd edition was released through Pathologically Explicit Recordings.

 

 

 

 

 

 

 

 

 

 

 

Cannibal Corpse - The Wretched Spawn (2004)

 

 The Wretched Spawn is the ninth studio album by American death metal band Cannibal Corpse. It was released on February 24, 2004 by Metal Blade Records. The cover art is by Vincent Locke. This is the last studio album to feature guitarist Jack Owen, one of the band's founding members, and up to the 2012 album Torture, the last with an album cover depicting violence and gore. The album was distributed with a making-of DVD produced by Nick Sahakian. The Wretched Spawn is Cannibal Corpse's fourth album to be named after one of the tracks on the album, after Butchered at Birth, The Bleeding and Gallery of Suicide.

"For songs like "Nothing Left to Mutilate", and "Decency Defied", I looked to friends for ideas they had. "Decency [Defied]" was based on a friend who had a nightmare that her tattoos were being torn off while she was still alive. "Nothing Left [to Mutilate]" was based on ideas from a friend who was studying pheromones in college, and told me all about how a woman's scent drives men crazy. So if my imagination doesn't kick in, I draw from other things. "Slain" was based on the Eastwood film High Plains Drifter. And "Festering in the Crypt" is my own idea of dealing with the finality of death."- (Jack Owen).

 

3984-14475-2

 

 

 

 

 

 

-Tracklist:

 1. Severed Head Stoning     01:45
2. Psychotic Precision     02:56
3. Decency Defied     02:59
4. Frantic Disembowelment     02:50
5. The Wretched Spawn     04:09
6. Cyanide Assassin     03:11
7. Festering in the Crypt     04:38
8. Nothing Left to Mutilate     03:49
9. Blunt Force Castration     03:27
10. Rotted Body Landslide     03:24
11. Slain     03:32
12. Bent Backwards and Broken     02:58
13. They Deserve to Die     04:44

44:22

 

-Lineup: 

┼ George "Corpsegrinder" Fisher : Vocals
┼ Jack Owen : Guitars, Lyrics (tracks 3, 7, 8, 11), Songwriting (tracks 3, 7, 8, 11)
┼ Pat O'Brien : Guitars, Songwriting (tracks 1, 2, 4, 9)
┼ Alex Webster : Bass, Lyrics (tracks 1, 5, 6, 10, 12, 13), Songwriting (tracks 1, 5, 6, 10, 12, 13)
┼ Paul Mazurkiewicz : Drums, Lyrics (tracks 2, 4, 9).

 

 

 

Label: Metal Blade Records.

 Recorded at Sonic Ranch Studios in Tornillo, Texas.
Mastered at Red Mastering.

 Censored version with no lyrics.
Includes bonus DVD - The Making of The Wretched Spawn.

 

 

 

 

 

 

 Intestines exposed
By violent thrusts
The innards removed
Dissecting the guts
To rip through the skin
Tissue and muscle
Cartilage shredding
Draining blood vessels

Frenzied hacking
Morals lacking
Eviscerate
Life is gone before my eyes

Flesh matters the most
When splattered around
It's never morose
Absurdly profound
Fresh insides come out
Excitedly done
My purpose in life
To kill just for fun

Frenzied hacking
Morals lacking
Eviscerate
Life is gone before my eyes

Frantic disembowelment
Deprived of vital content
Organ loss without consent
Spastic slicing an event
Sharpened steel my covenant
Frantic disembowelment
Mutilating miscreant
Sickening accomplishment
Spreading gore is time worth spent
Perpetuate this mad intent
Eternally malevolent
Frantic disembowelment

Kidneys exploded
The pancreas flew
Stomach deleted

The spleen did chew
The carving is over
You lost and I won
Fulfilling my dream
I killed you, for fun

Frenzied hacking
Morals lacking
Eviscerate
Life is gone before my eyes

Frantic disembowelment.

 

Kreator - Out Of The Dark... Into The Light [ep] (1988) [CD] (1992)

 

Originally named Tyrant and then Tormentor, Kreator were founded in 1982 by vocalist/guitarist Mille Petrozza, bassist Rob Fioretti, and drummer Jürgen Reil (aka Ventor) in the industrial capital of Essen, Germany. They were still known as Tormentor when their first two demo tapes, one fittingly named Blitzkrieg (1983), and the other End of the World (1984), fell into the hands of thousands of heavy metal fans engaging in the era's bustling underground tape-trading network. Positive word of mouth soon attracted the attention of Germany's own metal start-up, Noise Records, which signed the newly re-christened Kreator to a deal and immediately put them to work on their first album. Recorded in just ten days at Berlin's Musiclab Studios, 1985's Endless Pain was a savage debut, but its crude thrashing quickly had the underground metal world abuzz with excitement. A second guitar player, Wulf, was hired for touring purposes, and with Kreator's reputation preceding them, lucky fans within the band's modest touring radius were soon clamoring for tickets.

No sooner had they come off the road than Kreator were heading right back to Musiclab Studios, this time with producer Harris Johns (Helloween, Voivod) to record their second album, Pleasure to Kill. Unleashed in 1986 and still considered the band's first "classic" album, Pleasure to Kill raised the bar with more diversity of tempos and greater attention to technical execution while losing nothing in terms of ferocity or speed. The band closed out the year with the Flag of Hate EP (named after a re-recorded version of their earliest hit), and there seemed to be little doubt that Kreator, along with fellow Germans Helloween and Switzerland's Celtic Frost (with whom they toured the U.K. a year later), were fast becoming Europe's top extreme metal contenders. Recorded at Hanover's Horus Studios with English producer Roy Rowland, 1987's Terrible Certainty did nothing to dent this perception, since, for once, Petrozza and company actually had a little time to work out the songs beforehand. The ensuing tour further established their reputation as dedicated road warriors and saw Kreator beefed up to a quartet once again with the addition of guitarist Jörge Trebziatowski. Profits from these concerts would help finance yet another EP (product being something Noise never stopped asking for) titled Out of the Dark, Into the Light, released in August 1988.

 

N 0200-2

 

 -Tracklist:

 1. Impossible to Cure     02:41
2. Lambs to the Slaughter (Raven cover)     03:34
3. Terrible Certainty (live)     05:19
4. Riot of Violence (live)     05:49
5. Awakening of the Gods (live)     07:13
6. Flag of Hate (live)     04:02
7. Love Us or Hate Us (live)     03:57
8. Behind the Mirror     04:45

37:20

 

-Lineup: 

• Mille Petrozza : Vocals, Guitars
• Roberto Fioretti : Bass
• Ventor : Drums
• Tritze : Guitars.

Label:  Noise Records.

Recorded and mixed at Musiclab in Berlin in May 1988 and live at Dynamo Eindhoven May 31 1988.

 Mixed at Sky Trak Studio in Berlin. 

Mastered at Studio Nord in Bremen.

 Mixed by Harris Johns.

 Produced by Harris Johns & Kreator.

Front cover painting by Phil Lawvere.

 Cover concept by Schubert K.

 Photography by Buffo Schnädelbach & Manfred Eisenblätter.

Tracks 6, 7 & 8 live in East Berlin, 4 March 1990.

 

 

 

 

 

DECADE OF BARBARITY: Viscera Trail + RazorRape + Phormol 09.12.2012 Vigo

 

 

 

 

 

 Viscera Trail was formed in Kfar Saba, Israel on July 2002 by Tomer Hasenfratz.
The aim was to form the sickest band to ever emerge from the Holy Land.

 

 

 

 

 

 

 

 

 

 

 

 

 Death Metal/Grindcore project RazorRape was formed in 2004 as a one-piece project by the drummer Martin Schönherr. Prior to 2021, all live shows had session members.

 

 

 

 

 

 

 

 

 

 

 Brutal Death Metal from Santiago de Compostela, Spain.

 

 

 

 

Venom - At War with Satan (1984) [Reissue] (2005)

 

 At War with Satan is the third album by the British heavy metal band Venom, released in April 1984. It is a concept album that tells the story of a war between Heaven and Hell which the latter side wins. It was touted as Venom's crossover into mainstream music, but failed to do so. Shortly after it went on sale, the HMV record chain withdrew the album from its shelves because of its anti-Christian content.

The inspiration for writing a track filling out an entire side of the record, according to Venom's bass guitarist and vocalist Cronos, came from Rush's 2112 album. "At War with Satan" is centred on a character named Abaddon (which is also the alias of Tony Bray, Venom's drummer), who is the guardian to the gates of Hell. Cronos started writing, in his school days, a story about "how Hell revolts and takes over the heavens and throws God into Hell", a story later fleshed out as "At War with Satan". The title track's imagery and storyline largely evokes the Book of Revelation and John Milton's epic poem Paradise Lost (1667–1674), filtered through a postmodern horror movie and pulp aesthetic. The catchy opening riff of the title track derives from the song "Teaser" by Tommy Bolin (1975).

With side A taken by the epic title track, side B offers the "three-minute scorchers" for which the band is best known. The metal journalist Malcolm Dome said that songs such as "Cry Wolf" showed how much Venom had matured in their songwriting without losing their edge. According to the AllMusic reviewer Eduardo Rivadavia, the album's last track, "Aaaaaarrghh", is "possibly the funniest song ever recorded".

At War with Satan's packaging resembled the leatherbound sleeve of a bookcover. A hundred-page The Book of Armageddon with the entire story of At War with Satan was supposed to be published alongside the album, but it never happened. The Swiss independent distributor Disctrade tried to interest Venom in H. R. Giger's painting Satan I (1977) to no avail. It later became the cover art of Celtic Frost's second album, To Mega Therion (1985).

By the time At War with Satan went on sale, Venom had reached a crossroads in their career. Critics felt that their third album should have propelled them into the heavy metal mainstream, something which failed to materialize. Venom were also being threatened by thrash metal upstarts such as Metallica, who two months before At War with Satan's release were the opening act for Venom's Seven Dates of Hell tour (Roughly a year later Venom also took Slayer and Exodus on their North American Combat Tour). This was Metallica's first European tour, which included concerts in Switzerland, Germany, France, Belgium and the Aardschok Festival in the Netherlands.

The record was well received by major music magazines. "Proof positive that Venom are the best heavy metal band in the world", said Melody Maker's Neil Jeffries of the album. "It will definitely go down in Heavy Metal history as the ultimate headbang," claimed a Sounds reviewer of the title track. At War with Satan's entry on the "Where to Start with" section of the Kerrang! site says that this was the "last truly great record the Geordie three would make". Some criticism, though, was directed toward the album's production values, viewed as subpar.

The title track's merits divided critics. In the opinion of About.com's Chad Bowar, "At War with Satan" is at the same time "highly ambitious" and "bloated", but the song was "so over-the-top and so dramatic that it somehow worked" and made the album "an overlooked metal gem".The Allmusic review's tone was harsher: this concept piece was an "ill-advised anomaly", much of it "decidedly crap".

The rise of metal's popularity in the 1980s was paralleled by the political power gained by conservative organisations such as the Parents Music Resource Center (PMRC). The Christian campaign against the "offensive" content of rock music carried out by certain political groups in America eventually crossed over to the United Kingdom. Venom became one of its early victims: HMV stopped selling At War with Satan in fear of legal action because of Britain's obscenity laws. The PMRC later included the title track of Venom's following album Possessed in their "Filthy Fifteen" list.

 

 

 641013

 

 

 

 

 -Tracklist:

 Side A

1. At War with Satan     19:56

Side B

2. Rip Ride     03:08
3. Genocide     02:58
4. Cry Wolf     04:19
5. Stand Up (and Be Counted)     03:31
6. Women, Leather and Hell     03:21
7. Aaaaaarrghh     02:24

39:37

 

-Lineup:

 ⛧Cronos : Vocals, Bass
 ⛧Abaddon : Drums
 ⛧Mantas : Guitars.

 

Label: Earmark.

Recorded at Impulse Studios, UK.

Mastered at Utopia Studios, London, UK.

 Production & cover design by Venom.