Death metal veterans SIX FEET UNDER have entered the studio to begin recording their new album. The follow-up to 2017’s “Torment” is due later this year via Metal Blade Records.
SIX FEET UNDER revealed its recording activities in a social media post Thursday night (February 6). The band wrote: “Tracking for the new SFU album is underway… Marcos [Marco Pitruzzella] drums are complete .. Jack[Owen] is heading into the studio this weekend to start tracking guitars! Good stuff going on! Excited for you all to hear!!”
Back in 2018, SIX FEET UNDER issued a compilation album, titled “Unburied”, in digital format through Metal Blade Records. The disc was produced by vocalist Chris Barnes, and mixed and mastered by Chaz Najjarat Badlands Recording in Denver, Colorado. The LP consisted of nine songs recorded during sessions for the albums “Undead” (2012), “Unborn” (2013) and “Torment”.
In a 2017 interview with Metal Insider, Barnes spoke about the fact that he has been a Metal Blade recording artist for three decades. He said: “One of the reasons that I’m proud of it is because when I was getting a ride to that record store when I was a kid, I didn’t have a guide — maybe a couple magazines here and there like Metal Forces or Kerrang!, but you didn’t have much to go on. But if it was on Metal Blade Records, and if it was produced by Brian Slagel, if I saw his name on the record and it was a Metal Blade release, that’s what I bought. I could’ve had, like, three other choices, but if that one was there and if I saw that black on red, man, I bought that. [If] Slagel or Bill Metoyer mixed it, that was my guide. And seven years later, I’m in a band and I have a press package and I send it to Metal Blade Records, and the record label that I was a fan of that guided me through my metal years, they end up signing me. It was like a dream come true and me and Brianbecame friends over the years, and he’s one of my greatest friends.”
Super Metal World recently conducted an interview with frontwoman Tatiana Shmailyuk of Ukrainian modern metal frontrunners JINJER. You can listen to the entire chat at this location.
On the reaction to their new studio album, “Macro”:
Tatiana: “So far, I haven’t yet heard any negative reactions to the album, so, that’s good. I’m not the one who is surfing the Internet in search of comments and reactions. I don’t care what people think because I have a lot of things to do. I don’t know…so far so good. Again, I haven’t heard shitty responses to the album.”
On the songwriting approach to “Macro”:
Tatiana: “I don’t take part in composing music. Everything I do I’m just writing lyrics and trying to feed them into already-written material. I don’t take part in composing it and they, the rest of the guys, write music at their home and they don’t even ask me about my opinion about the material.”
On whether “Pisces” was the song that broke JINJERinto the mainstream:
Tatiana: “Unfortunately, ‘Pisces’ lost its charm. It became viral, which I don’t like. I don’t like the huge hype that we’re having right now. It wasn’t supposed to be like this. This song is very personal and believe me, Pisces are not those people who are begging for our attention. I don’t like this word, ‘mainstream.’ The people made it mainstream; we didn’t. We didn’t really want it to be like this. But nevertheless, on the other hand, it’s really good. It’s really good that this song is so much appreciated.”
On whether she feels “jaded” about JINJER‘s recent popularity:
Tatiana: “The only thing I can say about that, [is] me personally, I feel under the pressure. I feel the pressure a bit, but, I’m sure that people are going to say, ‘Okay, but this is what you wanted, so don’t complain.’ And I will say that when I dreamt about being a singer in a band, I was 11, and believe me, I had no idea that musicians had their own reality to face. I had no idea. And I didn’t read any articles or didn’t watch any interviews because, first of all, I didn’t have any Internet connection on my computer. I imagined it to be a fucking fairytale. [Laughs] Obviously it’s not like that. I didn’t know that I had to do so many interviews. [Laughs] I feel like being a musician in the 21st century is a completely different thing than being a musician in the 20th century in the ’90s, for example, and the ’70s and ’80s. So, I probably cannot compare because I never lived in those times.”
On whether she still gets joy out of being in JINJER:
Tatiana: “Yeah, of course. Of course. Sometimes your exhaustion or your tiredness is so overwhelming that you kind of stop seeing those beautiful things every day. You have to always be focused. I have to be focused all the time on the good which is a really hard thing for me. [Laughs] But I’m trying to be grateful and trying to learn.”
On whether her rough Ukrainian upbringing has any effect on her perspective on the music industry:
Tatiana: “No. I think I was born like this. I believe that, well, a lot of people think that you can shift energies from negative to positive. I think, to my mind, people are born with a certain kind of energy. Someone was born sad and someone was born, I don’t know, very happy and positive and no matter what happens in their life, they are always positive. They don’t even have to make any effort to stay positive. This is genuine energy. And someone is seeing everything in black and white. It’s really hard.”
On whether she’s an introvert:
Tatiana: “Yes. Two-hundred percent introverted. [Laughs] It’s not bad, and again, I analyze myself all the time. Sometimes people make me think I’m kind of retarded or handicapped being an introvert. A lot of people don’t even know that there is a term ‘extrovert’ and ‘introvert.’ They think that those shy people, there is something wrong with them, but hell no, I remember once in my childhood, I was very extroverted, but then something clicked in my head. When I was dancing, like in a circle of our relatives at parties, holidays, then something clicked in my head and I started avoiding people. When our relatives came to celebrate some holiday, I was hiding under my bed because there were very crazy dudes. Like not really my uncle, he’s not my relative, there’s not blood relationships, and he was really loud. [Laughs] And I was hiding from him. I was hiding under my bed so that he didn’t disturb me.”
“Macro” was released on October 25 via Napalm Records. Punishing riffs, aggressively blended vocals and astonishingly deep lyrics make “Macro”JINJER‘s most advanced and undeniable album yet — taking the listener on a journey of trauma, power struggle and greed with a progressive groove metal backdrop.
Rapper uses Cattle Decapitations cover art for new up-coming album “Death Atlas” for his mixed tape and doesn’t even bother removing their logo so the band took to social media and decided to create a teeshirt out of the whole situation available for only 24 hours on their website. See below.
YES, THIS IS FOR REAL
Recently, a rapper took the cover of our new album “Death Atlas” and used it for his mixtape. Here’s a one-time-only T-Shirt available for the next 24 hrs ONLY! ORDER HERE DURING THE NEXT 24 HRS ONLY AND THEN ITS GONE FOREVER: https://indiemerch.com/cattledecap/item/78571
Their long awaited 9th studio album, “Death Atlas” is due out November 29th 2019. PRE-ORDER NOW
Death Atlas
Cattle Decapitation have never shied away from confronting the awfulness wrought upon the natural world by the human race, and Death Atlas is their bleakest offering to date. The cover art says it all: a stooped, skeletal Grim Reaper carrying the burnt-out husk of our planet on his back. “The core concept of this record is humanity’s insignificance despite what we’ve convinced ourselves,” explains vocalist Travis Ryan. “That’s kind of why this album cover takes place in space, to remind you that ‘the universe always finds a way to purge’. In the grand scheme of things, our species is merely a fleeting thought.” This imagery is backed up with a ferocious soundtrack, which includes elements of death metal, grindcore, black metal, sludge, doom, drone – with Ryan’s vocals broader and more fully realized than ever before.
Produced once again by Dave Otero (http://www.flatlineaudio.com), Death Atlas also features a number of guests: Laure Le Prunenec (Igorrr, Ricinn), Riccardo Conforti (Void of Silence), Dis Pater (Midnight Odyssey), Jon Fishman (Phish) – plus, brass instrumentalists from Ottone Pesante. The end result of these experimentations and collaborations is one of the most devastating records of 2019, and it demands an emotional response.
As the band prepares to tour and hopefully reach places they have yet play, what Ryan wants listeners to take away from Death Atlas is clear: “I want people to be shocked into thinking more about their futures, their loved ones, the pain they’re potentially subjecting their future generations to. Everyone just seems to live in the now with no care for tomorrow, and that’s incorrect thinking, as far as today goes. Don’t make tomorrow a cancelled check.”
Tour Dates:
Nov. 22 — Austin, Texas @ Empire Control Room Nov. 23 — Dallas, Texas @ Gas Monkey Bar & Grill Nov. 24 — Houston, Texas @ White Oak Music Hall Nov. 25 — New Orleans, La. @ The Parish @ House Of Blues Nov. 26 — Orlando, Fla. @ The Abbey Nov. 27 — Fort Lauderdale, Fla. @ Culture Room + Nov. 29 — Atlanta, Ga. @ Hell @ Masquerade + Nov. 30 — Richmond, Va. @ Canal Club Dec. 01 — New York, N.Y. @ Le Poisson Rouge Dec. 02 — Boston, Mass. @ Brighton Music Hall Dec. 03 — Philadelphia, Pa. @ The Foundry @ The Fillmore Dec. 04 — Toronto, Ontario @ Opera House Dec. 05 — Chicago, Ill. @ Metro w/ Atheist, Primitive Man, Author & Punisher, Vitriol Dec. 06 — Lawrence, Kan. @ Granada Theater Dec. 07 — Denver, Colo. @ The Oriental Dec. 08 — Grand Junction, Colo. @ Mesa Theater Dec. 10 — Albuquerque, N.M. @ El Rey Theater Dec. 11 — Mesa, Ariz. @ Club Red Dec. 12 — Los Angeles, Calif. @ Decibel Pre-Party @ The Regent Dec. 13 — Las Vegas, Nev. @ Fremont Country Club Dec. 14 — Fresno, Calif. @ Strummers Dec. 15 — Berkeley, Calif. @ UC Theatre Dec. 17 — Seattle, Wash. @ The Showbox Dec. 18 — Portland, Ore. @ Bossanova Ballroom Dec. 19 — Sacramento, Calif. @ Holy Diver Dec. 20 — Pomona, Calif. @ The Glass House Dec. 22 — San Diego, Calif. @ Brick By Brick + No Author & Punisher
There is absolutely no way that when Suaka drummer John Mollusk took teenage environmental activist Greta Thunberg’s recent UN speech and turned it into a death metal song that he knew how popular the track would become. But the thing has truly taken on a life of its own, going viral not just in metal circles, but in the “real world,” too (i.e. friends who don’t care about metal have asked me about it). Why, Thunberg herself gave it the thumbs up!
Mollusk is putting the track’s popularity to good use, too: he’s teamed with Despotz Records to release the song, now called “How Dare You,” under the moniker G.T (which I assumed stands for “Greta Thunberg”), with all proceeds going to Greenpeace. You can get it on all the various platforms here, with some sweet cover art (above) to boot.
And here’s the original viral video, if you missed it:
The cover was created by John Merideth of New York City-based metal trio Suaka. “When I saw her speech, I was very impressed by her passion and outrage,” John told Rolling Stone. “And the words she chose just evoked the darkness of the metal music I love: Entombed, Gojira, At the Gates, Sepultura…I guess I didn’t really have a specific intent other than to turn her brutal words into a metal song. My personal stance is that individuals need to do their part to strive to conserve and preserve our environment…
“Teen angst can be a powerful and important driving force in society, for instance the Arab spring,” he continued. “But there is an element of satire and levity regarding the tone and the music.”
Among the fans of the adaptation? Thunberg herself.
Titled “Greta Thunberg sings Swedish Death Metal,” the video, created by a musician, sets Thunberg’s speech to harsh guitar chords and distorts the 16-year-old Swedish girl’s voice into a growl.
“This is all wrong,” Thunberg roars in the video as the screen flashes different colors and drums bang.
“I shouldn’t be up here. I should be back at school on the other side of the ocean.”
The music climaxes each time after Thunberg, holding back tears, asks world leaders: “How dare you?”
The video, uploaded last Wednesday by user John Mollusk, had more than 3.1 million views as of Monday morning. Over the weekend, Thunberg tweeted out a link to it, joking, “I have moved on from this climate thing… From now on I will be doing death metal only!!”
The creator did not immediately return a request for comment from NBC News. But in an interview last week with Rolling Stone magazine, which identified the creator as thrash-metal drummer John Meredith, he said he was prompted to make the video because he agreed with Thunberg’s perspective and also thought her searing language lent itself to metal.
“When I saw her speech, I was very impressed by her passion and outrage,” he told the magazine, adding, “I guess I didn’t really have a specific intent other than to turn her brutal words into a metal song.”
Thunberg is no stranger to having her words turned into music.
Rebranded to reflect the increasingly disturbing and disgustingly heavy nature of their music, Cranial Bleeding have now morphed into the twisted Purulent Necrosis – and Purulent Necrosis are ready to unveil their terrifying debut album, Cadaverized Humanity, an unrelenting assault on the senses.
The standard terms for defining extreme music are simply inadequate to describe the horrific onslaught of tracks like ‘Throne Of Carnage’. These blood-chilling outbursts of inhuman depravity go beyond the normal barriers of acceptability even for brutal death metal. Purulent Necrosis are beyond ‘heavy’, beyond ‘extreme’ and Cadaverized Humanity attacks like a hammer-wielding lunatic from start to finish. The rusted riffs that form the warped exoskeleton of ‘Calculated Acts Of Retribution’ must surely be the product of warped minds and the bestial vocals of Justin Downs are barely recognisable as human. This is not a listening experience; it’s a test of your endurance and your sanity, a trip into the abyss, the foulest recesses of human depravity.
Line-up: Justin Downs – Vocals Blake Scott – Guitars Steve Green – Guitars Matthew Green – Drums Jason Keating – Bass
Like handing knives to monstrous predators, Comatose Music have recklessly agreed to release Purulent Necrosis’ insane violence into the world on November 1st. From that date Cadaverized Humanity will be lurking in the cellars and alleyways of your town, waiting hungrily for blood. Indiscriminate killing on an unprecedented scale is sure to follow.
Genre: Brutal Death Metal For fans of: Devourment | Skinless | Internal Bleeding | Guttural Secrete
For more information on Purulent Necrosis click here Visit Purulent Necrosis on Facebook Visit Comatose Music
In the boundless kingdom of hell there are featureless corridors that run from sunrise to sunset, lined with doorways beyond counting. Each corridor is the same and each doorway identical, but those indistinguishable doors all open upon endlessly unique expressions of torment; myriad agonies beyond comprehension and eternal punishments to baffle the mind. Behind the obsidian gates lurk atrocities beyond the wildest dreams of evil men; the limitless exploration of the possibilities of pain, the numberless ways to dissect, reconstruct and tear apart… the eternal refinement of the art of excruciating extermination!
The debut album from Horrific Demise, Excruciating Extermination, has been long years in the making. The band has lived in the mind of guitarist/vocalist Matt Bishop since 2005, squirming and fermenting in the charnel pits of his subconscious, hunting and feeding in the labyrinth of his fantasies. While Horrific Demise grew in the darkness Matt made his name in the brutal death metal scene, spending ten years carving out the blood-soaked riffs for Lividity. But Horrific Demise could not be kept constrained forever… A meeting with guitarist Tony Tipton (Necrotic Disgorgement, Regurgitation) in 2013 breathed new life into the beast and the first Horrific Demise songs began to form. Over the next five years more darkly creative souls were drawn into the shadowy world of Horrific Demise: drummer Kyle Christman (Gorgasm, Sarcophagy) and bassist Phil Good (Necrotic Disgorgement, Created To Kill etc) adding their considerable talents. The search for the perfect voice to articulate the horrors of the band’s songs proved harder though, with several brutal vocalists trying out for the position, but somehow not capturing that perfect nightmarish vibe. Then, when Anthony Voight (Gorgasm, Sarcophagy) grabbed the mic and unleashed his inhuman roar the elite team was instantly complete. Now their work is done and the time has come for Excruciating Extermination to be unleashed! From the breathtaking initial attack of ‘Born From Brutality’ Excruciating Extermination carries you on a wild ride through Hell’s chambers of despair. Riff is piled upon monstrous riff and razor-wire solos slice, gleaming, through the crimson filth. This is not just another album of brutality; this is the stunning product of years of experience and musical aptitude, the realisation of dark dreams and long held ambition.
“If anyone can say they’ve done their Reign In Blood, this is mine. If I didn’t do one more album after this, I’d be cool with that.” – Matt Bishop on the Murder Metal Mayhem Podcast
With the power of Comatose Music behind them Horrific Demise will spread their tales of Excruciating Extermination to every corner of the metal world. This album, this band, this label – they are all undeniable. Nothing will stand in their way. Prepare to be exterminated!
Line-up: Matt Bishop – Guitars Anthony Voight – Vocals Tony Tipton – Guitars Kyle Christman – Drums Phil Good – Bass
Genre: Death Metal For fans of: Incantation | Immolation | Suffocation | Lividity
TYRMFAR – RENEWAL THROUGH PURIFICATION LABEL: MTAF RECORDS RELEASE DATE:JUNE 22nd 2019
In an age of chaos, an age of grief, the lost and the broken remnants of humanity swarm beneath the condemning gaze of dark gods. A thousand individual tragedies are played out unseen in the mass of screaming, bleeding, desperate souls; each one insignificant to those who have come to judge and dispense justice. Collectively mankind has been found wanting and the sentence is annihilation. An unspoken moment arrives and the vast tableau falls silent, the last second of existence for a doomed species and then unimaginable power is unleashed…the purification has begun.
Those steps towards destruction, that last held breath and then the explosion of a soul-scorching firestorm is encapsulated perfectly in the opening two tracks of Tyrmfar’s gargantuan Renewal Through Purification. The grandiose, portentous notes of ‘The Arrival…’ bring the promise of stories to be told, of vast, black clouds gathering and filling the endless skies – and then, after a fraction of a second where utter terror floods the mind, ‘…Of The Legions Of Eternity’ is upon you! The endless thunder of the drums obliterates the silence and black majesty, wild power held within a steel grip, descends. Yet Tyrmfar are about so much more than simple domination, as remarkable emotion burns between the towering ramparts of brute force riffs. Melodies steeped in loss and pain weave their way through the overwhelming avalanche of destruction – holding you hypnotised, captivated even as your inevitable doom crashes towards you.
Hailing from the mountains of Switzerland, Tyrmfar’s story began in 2013 and their ascent has been a rapid one. Their first release was the 2015 EP, In The Depths Of A Dark Spirit which was followed in 2017 by the superb Human Abomination album – hailed by Daily Rock as “bloody and invigorating”. The band were soon playing major European festivals like the massive Metal Days event and performing with giants of extreme music likeKrisiun; nor were they out of place on such bills with Daily Rock naming them “artists who can shake the most seasoned headliners of extreme music festivals.” All that experience has now been poured into the creation of their game-changing second album, Renewal Through Purification. This collection of breathtaking songs, due out in June through MTAF Records is a magnificent fusion of the atmosphere of black metal and the power of death metal. This is Tyrmfar announcing themselves as true contenders on the world stage, ready to carve their bloody path to the throne.
Heres a list of favourite metal picks by yours truly.
This showed up in the mail and I have forgotten that I ordered it. One of the best demo’s of 2018. It makes me that much more excited for full lengths and has solidified pre-orders.
I somehow missed this last year but this album gets it the fuck on. I had no idea it was a one man project which is even more dope. Its mutilatedmarvel. I utilize the genre tabs feature on Spotify and find a lot.
Acathexis: Self Titled Album
Its Beautiful, its heavy, its dark, its better than anything I could ever need or want from a black metal album.
Combining absolutely brutal technical death metal with lyrical themes of Ancient Egyptian and H.P. Lovecraft influence, South Carolina’s Nile released the crushing Those Whom The Gods Detest in 2009.
Led by vocalist/guitarist Karl Sanders, Nile create a wall of intense velocity, power, and intelligence, with blistering speed and precision.
Song titles give some clues to the depth of immersion into the Egyptian style that Sanders has obviously researched with an academic’s eye for detail…Yezd Desert Ghul Ritual In The Abandoned Towers Of Silence, Kafir!, The Eye Of Ra, Utterances Of The Crawling Dead, Permitting The Noble Dead To Descend To The Underworld, Iskander Dhul Karnon, and 4th Arra Of Dagon.
I saw Nile and Behemoth both perform at the 2007 Ozzfest and both bands literally converted me to Death Metal that day.
The mixture of technique, power, passion, and utter brutality just finally made sense to me.
Before, I had always struggled with the “death growl” vocal style, but seeing death metal properly performed by two masterful bands of the most extreme nature I had ever witnessed was all it took.
Vinyl Lair 