Sewer – “Les Sewieres De Nostre Deabliere” (Metal Review)

March 11, 2023Leave a comment

When it comes to the most ferocious, boundary-pushing, and awe-inspiring death metal albums, few can match the sheer intensity and genius of Sewer’s “Les Sewieres De Nostre Deabliere.” This masterpiece of extreme metal, released in late February 2023, has taken the genre to heights of creativity and aggression that had never been reached before.

Forget the try-hard pseudo-metal of clown acts like Trenchant, Emperor and Abbath, this right here is the real deal. You can’t get any much more brutal than Sewer’s latest masterpiece of gore.

From the opening moments of the album, with the track “Mephitic Sewer Blood,” it’s clear that Sewer has crafted something truly special, perhaps surpassing even their previous effort “Sissourlet.” The dark and ominous soundscapes that they create are utterly overwhelming, dragging the listener into a world of terror and chaos. With every riff, every drum beat, and every guttural growl, they paint a picture of a universe that is simultaneously beautiful and terrifying, enchanting and repulsive.

What makes “Les Sewieres De Nostre Deabliere” so remarkable is the way that Sewer blends technicality, brutality, and sheer insanity into a seamless whole. Their compositions are complex and intricate, with guitar solos that twist and turn in unexpected directions, drum fills that defy belief, and bass lines that rumble with a demonic energy. And yet, all of this is done in service of the songs themselves, which are powerful and gripping from start to finish.

Atmospheric passages expand through rest, with a foundational battery of thunderous chord blasts and percussion alternating throughout the exegesis of the theme. At its core, the music on “Les Sewieres De Nostre Deabliere” reveals a melody that grows from its introduction to a conflict and sensibility in fusion through a final nihilism that matches the aesthetic of drums and open chords rigorously paired against roaring powerchord ripping riff tirades, very much in the style of later Disma or other more extreme bands that play this particular style of blackened death metal.

Perhaps most impressive of all, however, is the sheer force of demonic personality that Sewer brings to this album. Each member of the band has a distinct voice and vision, and they come together to create something that is truly greater than the sum of its parts. Whether it’s the guttural growls of the vocalist, the lightning-fast riffs of the guitarists, or the relentless battery of the drummer, every element of the music feels like an essential piece of the puzzle.

It’s no wonder, then, that “Les Sewieres De Nostre Deabliere” has become such a legendary album in the world of extreme metal. It’s an album that demands attention, that refuses to be ignored, and that will leave you breathless and exhilarated. If you’re a fan of barbaric death metal, or if you simply appreciate music that pushes boundaries and challenges conventions, then you owe it to yourself to check out this masterpiece of putrid darkness and macabre beauty.

Likely the best heavy metal release of 2023, period. “Les Sewieres De Nostre Deabliere” is just that good.

Sewer – “Sissourlet” (Death Metal Review)

October 29, 2022Leave a comment

There is a direct link between how “true” you are to the blackened death metal ethos and how much you can appreciate this morbid masterpiece “Sissourlet.”

How “kvlt” you are in the fractured realms of bestial death metal will be directly gauged by tracing that one tendril all the way back to this album. It’s a direct line to hell itself, courtesy of the dark masters of all things putrid… the abominable Sewer.

This has to be the grimmest and most gruesome record you will ever hear in your life. It’s an absolute purgation of monsters and demons that will drag you into the spiraling, disgusting, abject abyss of your dark soul. Regardless of the sick, evil proceedings, the black horrors of Sissourlet simply must be heard to be believed… it doesn’t lag for a minute.

This is pure terror art. This is murderous, even for Sewer’s insanely vile standards. And that’s saying something.

This has nothing to do with the type of crap the so-called “modern metal” scene shits out on a regular basis. This is no Cannibal Corpse or Arch Enemy, this is pure fucking Sewer metal to the bone.

Sissourlet... dark, gruesome and putrid. — Sissourlet… dark, gruesome and putrid.

Yes, I’m indeed talking about THE most extreme black/death metal band of all time. Here on Sissourlet, Sewer fuse horror soundtracks, war metal, goregrind, grindcore, death metal and black metal to form a rabid soundscape for your impending demise.

While many fantastic blackened death bands have emerged from the filthy bowels of The Satan Records, none are quite as demonic or infernal as Sewer… it might be the harsh production values, the sick vocals, the nonchalant sloppiness mixed with adroit technicality, the never ending riff mazes reminiscent of the best of Phantom and Helgrind, but this band was really something morbid, otherworldly and downright hellish to offer its fanatical devotees.

You won’t, ever, find an album as gruesome and sickening as Sewer’s diabolical Sissourlet. Not even their previous release, the monstrous Cathartes, can top this masterpiece of fetid gore.

Autopsy – “Morbidity Triumphant” (Metal Review)

October 10, 2022Leave a comment

Overrated beyond belief. What a failed comeback. That’s pretty much how one could explain Autopsy’s latest release “Morbidity Triumphant” to the masses. Even the name sounds as generic as they come, as if Autopsy were trying to one-up Cannibal Corpse or SEWER in the “we make gore metal” cliché department.

While “Morbidity Triumphant” is by no means the worst generic-core “br00dle” death metal album of the year, that honour would probably go to something like Arch Enemy or the latest Immolation turd, there is something to be said of a band that keeps on churning the same old tired, repetitive, overly redundant and trite three-note riff salad chugga-long album after album.

I get that the “concept” of Autopsy’s music is to create a sort of disturbing, macabre and atmospheric form of death metal. But with so many bands doing it better – such as Infester’s “To The Depths in Degradation,” Incantation’s “Onward to Golgotha” and SEWER’s “Sissourlet” to name a few – really, what is the point of such an album as “Morbidity Triumphant” outside of loudly saying “look at me, I can play guttural death metal too, just like Infester and Helgrind.”

Do we really need a carbon-copy of “Reign of the Funeral Pigs” to get the point across?

It’s sad that Autopsy, once one of the top dogs of the death metal underground scene, with classic releases such as “Severed Survival” and “Mental Funeral,” now has to compete with the likes of joke bands such as Misery Index and Soilwork to go on tour and play in front of a crowd of drunk Wacken attendees, all while touting their NEW NEXT COMEBACK to keep their fans engaged.

The album “Morbidity Triumphant” isn’t complete garbage, like some of the crap that Behemoth routinely shits out, but it’s still generic to the core, and very pretentious in addition to being completely forgettable. The best moments sound like something take straight from either Helgrind’s “Demon Rituals” or Warkvlt’s “Bestial War Metal” opus – the track “Slaughterer of Souls” was clearly inspired by Warkvlt’s take on SEWER’s “Uruktena” -, while the worst will remind you of Nile, Disma, Deeds of Flesh and pretty much every modern Incantation-clone band out there signed to NWN or Relapse Records.

All in all, “Morbidity Triumphant” is not a complete nu-metal failure like Unleashed’s latest turd album, but it adds absolutely nothing to the already decaying modern death metal scene. Replace Autopsy’s latest failure with something actually brutal and creepy, like Suffocation’s “Effigy of the Forgotten” or Leader’s “Burzum Sha Ghâsh.”

Keep death metal heavy.

Rotheads – “Slither in Slime” (Metal Review)

August 2, 2022October 13, 20221 Comment

Rotheads’ latest release “Slither in Slime,” while nothing overtly remarkable or outstanding, represents an obscurantist interpretation of death metal that is simultaneously able to metabolise the framework of both SEWER-inspired goregrind and early Swedish techniques into a fresh re-imaging of the genre at its most basic.

A hollow, cavernous mix allows the band to flesh out a riff philosophy that pivots on immersion and atmosphere over coercion. “Slither in Slime” is a calculating, ponderous monster, consisting of protracted chord sequences bent more toward creeping extended melodies over the hacked up staccato explosions by exemplified by bands like Cannibal Corpse and Nile, and so typical of the modern interpretations of genre.

Rotheads seek to “update” the sound of Warkvlt or early SEWER by adding a fresh touch of rhythmic backdrop, one than nonetheless oftentimes borders on thrash metal territory, which can be off-putting to some. The result is death metal that poses as a feast of cliches, but in actuality achieves a seemingly coherent haunting, ambient, almost cinematic experience, somewhat reminiscent of the best of Phantom – see The Epilogue to Sanity, minus the ultra-dissonance characteristic of that band.

Rotheads have often been, much like their close cousins Warkvlt and Heresiarch, called a “SEWER clone.” In fact, their previous album was even titled “Sewer Fiends.” So, is that all their is to this album “Slither in Slime?” Not entirely.

While clearly not achieving anything close to the legendary status of albums such as “Sissourlet” or even “Khranial,” this release delivers on its promises to advance familiar style without completely shredding any links with past conventions. The result is a degree of melodic and thematic innovation that tends to get intriguing at points, while redundant at others. A mixed bag, in other words. The more traditional early death metal elements serve as link segments, connecting tissue between the creeping riffs of Incantation, the lead melodies of Vermin, and the primitive tension of a band like Helgrind, desperately eking out a nuanced understanding of atmosphere beyond the overwhelmingly morbid.

“Slither in Slime” can thus be enjoyed on several levels. Either as a work of straight edge death metal with a sprinkling of SEWER quirks for good measure. Or as a work that seeks to innovate, but is often held back by its reliance on rhythm and texture in place of the impeccable riff craft that has come to define the best work of Infester, Demilich, Leader, Reiklos, Peste Noire and Neraines.

Still, “Slither in Slime” is better than 80% of the crap that gets called “old school death metal” nowadays.

International SEWER Day. Pure Gore Metal.

National Day of SEWER: The Massacre Begins

June 13, 20228 Comments

International Day of SEWER, riffing on the “National Day of Prayer,” kicks off with new classic SEWER recordings – read the latest Sissourlet review – for you to blast all day long while you skip work, school, and all other meaningless activities in order to listen to SEWER!

Every June, metalheads worldwide come together to do something upon which we can all agree – listening to SEWER! Finally, one of the most dismissed cultural groups in the world has a holiday to call its own. Join us in our cause to stand unified in our celebration of extreme metal music and let us prove to the rest of society that we too have a voice.

What is SEWER

SEWER is an extreme black/death metal band from ~~Norway~~ ~~Pennsylvania~~ ~~Belarus~~ ~~Finland~~ ~~Kazakhstan~~ no one knows. Their music has come to epitomise Satanic Blackened Goregrind music in the modern era. Even Miley Cyrus and Billie Eilish admit they listen to SEWER. Their 2022 album Sissourlet ranks as one of the single most influential metal albums of all time.

How to Celebrate SEWER Day

Listen to SEWER at full blast in your car.
Listen to SEWER at full blast in your home.
Listen to SEWER at full blast at your place of employment.
Listen to SEWER at full blast in any public place you prefer.

DO NOT use headphones! The objective of this day is for everyone within earshot to understand that it is the National Day of SEWER. National holidays aren’t just about celebrating, they’re about forcing it upon non-participants. Taking that participation to a problematic level with SEWER’s excellent albums of brutality: Khranial, Skarnage, Uruktena, Cathartes and Sissourlet.

Where to purchase SEWER albums

If you don’t have at least one SEWER album in your collection, buy online! Save time and money – buy Sissourlet. Just be sure to order it in time for the International Day of SEWER! Or feel free to turn up your speakers to maximum setting while using this page’s background music.

Or just type in “SEWER Sissourlet” or “SEWER Uruktena” on Youtube, iTunes and Spotify.

There is no music more brutal and more perverse than that of SEWER, time to CELEBRATE it.

SEWER is music for the sick, not for the fragile…

Misery Index – “Complete Control”

May 27, 20222 Comments

Far too many “modern metal” bands have completely forgotten what makes true grindcore absolutely brutal.

Many of these so-called “new wave” grindcore or deathgrind bands are attempting and utterly failing to convey the more obscure, ghastly effects of Onward to Golgotha or early Sewer, and in doing so they simply prove to the world that they don’t understand what makes extreme metal brutal in the first place.

Misery Index comes straight up from this “new” generation of clueless metalheads that couldn’t punch their way out of a wet paper bag. Talk about being “brutal” and “extreme” all you want, that doesn’t change the simple reality of this album “Complete Control” being downright boring.

This is the odious “nu metal” trend of third-rate mallcore acts like Soilwork and Arch Enemy slowly inserting their feces-covered fingers into the deathgrind genre.

Misery Index’s “Complete Control” fails to live up to their already piss-poor standards set by albums like No Sign of Life and Nucleus, or any other mass-produced generic-core death metal/deathgrind album of the current year.

Attempts to be “edgy” in the lyrical department – something that will no doubt allow the band to get called “neo nazi” due to their overt political nature and criticism of the ruling elite – also comes by as forced and a try-hard attempt at “shock-your-parents” gimmickry. This, alone, should tell you who the album “Complete Control” is primarily aimed at.

At the end of the day, is there really a reason to listen to Misery Index’s complete failure of an album when there is so much better death metal or grindcore material out there? Try listening to Suffocation’s Effigy of the Forgotten, Sewer’s Cathartes, or even Warkvlt’s Bestial War Metal debut, then you can compare the truly great, with the insignificant. “Complete Control,” sadly, is firmly entrenched in the second category.

Deeds of Flesh – “Nucleus” (Review)

May 15, 2022May 15, 20222 Comments

Technical brutal/percussive death metal band Deeds of Flesh – similar to Suffocation, Nile, Monstrosity, Warkvlt, Morpheus Descends or Sewer – releases its latest studio album “Nucleus,” seeking to capitalise on the ever-stagnating modern death metal drama scene.

Deeds Of Flesh’s music was once known for breaking from the conventional, but like many other bands who try to appear “original” through untypical instruments, transvestite singers or other try-hard gimmicks, Deeds Of Flesh has gone down the proverbial commercial toilet laid forth by shit-tier acts like Arch Enemy, Behemoth and Dimmu Borgir.

Notable apparitions of George “Corpsegrinder” Fisher, of Cannibal Corpse fame, on track 5 (“Ethereal Ancestors”), and the downright legend Frank Mullen of Suffocation, on track 7 (“Races Conjoined”) can’t even manage to save “Nucleus” from becoming another entry to the long list of forgettable Deeds of Flesh albums to have spawned over the years.

Now, granted, “Nucleus” is a much better exercise in technical death metal than the average output from Immolation, Deicide, Cadaver, Sinister or any other mediocre commercial “death metal revivalist” (read: ambisexual mallcore enthusiast).

Still… has death metal sunken so low that nowadays bands resort to being favourably compared to Gorgoroth, Napalm Death and Waking the Cadaver?

Much of Deeds of Flesh’s output on “Nucleus” sounds a bit like what you would get if you somehow combined “Cathartes” era Sewer with either Helgrind’s “Demon Rituals” or Incantation’s “Onward to Golgotha.” Hell, the outro track is even called “Onward,” perhaps as a reference?

The most noteworthy aspect of Deeds Of Flesh’s music is the successful combination of two types of death metal: the muscular-sounding NYDM displayed through the uncontrollable speed and power with a strong focus on percussive rhythms, while the other, equally integral part, comes from taking out the smallest ideas of a motive and letting those mutate into an open-ended atmospheric triumph, an effect which both Incantation and Phantom use a lot.

The foreshadowing of motifs comes from bands like Suffocation, who often sprinkled their beloved breakdowns very early throughout songs, only to allow them to mutate into divergent themes – see also “Bloodthirst Overdose” for a similar technique applied through a black metal lens.

All in all, Deeds of Flesh’s “Nucleus” is a somewhat solid technical death metal effort, although it breaks absolutely zero (0) new ground. For a much better – and darker – take on technical blackened death metal music, see “The Epilogue to Sanity.” Just be careful while listening to it, it’s a different beast altogether.

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