Asphyxiate - Altar of Decomposed (2021; New Standard Elite)

Slam in 2021 continues to impress with not one, not two, but three new NSE releases, each of which is satisfying in its own way. First up, we're going to take a look at Indonesian brutality purveyors Asphyxiate's new album, Altar of Decomposed.

This is Asphyxiate's first album in eight years, and the amount of work they've put in between the years following Self Transform From Decayed Flesh up until the present day is evident in how absolutely fucking great this is. Now, I would never say I was a giant fan of this band's previous works, as, although they've generally been solid works of Indonesian brutality, they do bear a lot of the hallmarks and pitfalls of that scene's sound: raw-ish, thin production, vocals that are well-performed and passionately-delivered but not really superb overall, odd mixing, and songs that don't feel overall satisfying or memorable despite a high ratio of good to meh riffs.

Right off the bat, we can hear a thicker, more bludgeoning tone to the guitars, and a satisfyingly pinged-out snare that nevertheless doesn't really overdo it on that front. This really charges right out of the gate with a bouncy slam and chunky riff section punctuated by excellent gutturals with a lot more clarity and composure to them compared to prior albums by these guys. I immediately started drawing comparisons to Cerebral Effusion crossed with Hymenotomy in how dense and jam-packed, yet loose and flowing these riffs and sections feel. I also pick up some strong Injury Deepen vibes in the way almost every riff is constructed over charging blasts, which also means this reminds me a lot of Gorgasm by extension at times, with some pretty overt Disgorge leanings peppered throughout. Track 2, "Sickening Canvas of the Dead," has a superb slower section with some flourishes of technicality in it and a dragging slam-esque riff that really brings some primality to the proceedings, and the band utilizes these types of sections here and there to counterpoint their usually fast-and-blasting style. They never really get to the level of Putridity in terms of pure blast-laden ferocity, but I really enjoy the contrasting elements that they layer in here, as those parts give this some true replayability. There are a couple standouts here that break from the mold, those two being "Altar of Decomposed," with its extremely dark approach, carrying a dreadful air of mystery throughout its snaking melodic passages, and "The Saint Killer" which just packs an absolute ton of catchy and satisfying riffs in its 3 minute runtime while also featuring probably the best single slam section on the entire album at 1:50 or so.

Anyway, with all these things having been said, the entire record is very much a "slab." In true Indonesian brutal death metal fashion, it does have a fairly-homogeneous sound throughout, and when you put it on, it's definitely one of those albums that you should be devoting some time to paying attention to. It doesn't have as many ridiculous slams or absurd catchy parts as some other recent NSE releases from the past year, but what you get here is exactly what you think you're going to get based on listening to the first few minutes of it. Some small highlights (the intense bass shredding toward the end of "Inhuman Catharsis" or the aforementioned odd, dark melodies in the title track's slower sections, for example) do break things up in their own way, but I think the consistency of this album is probably also one of its weaknesses in a sense. At a hair over 30 minutes long, it's about 5-7 minutes longer than the "ideal" slam album length, but they use the time well and I don't think it could really shave much off to become a leaner and/or meaner beast, so I guess it's not really an issue as much as a thing that feels kind of noticeable as I listen to it. And, of course, it's been eight years, so it makes sense that they have a lot up their sleeves for this release. No real complaints from me on this one, and it is certainly worth spinning many times. Hopefully it doesn't take them another eight years between albums, but I'm sure the next one will be an astronomical increase in quality even from this enjoyable brutality. More NSE reviews soon... stay fucking sick!

Relevant Links:
Asphyxiate - Altar of Decomposed (official direct Bandcamp link)
New Standard Elite / Death Direct (official website)

Infectology - Promo 2021 (New Standard Elite)

You know it's gonna be a good year for slam when there's a demo that catches your ear that is six minutes long, from a band you've never heard, and which you play on repeat for days straight like a psycho. Enter Infectology.

I've already talked at length in my past few entries since restarting this blog about how 2021 seems like a real renaissance, so I'll dispense with that right out of the gate, but seriously... what is happening right now? This demo follows an album from 2016 (coincidentally released on Gore House Productions who have featured heavily in this blog since its recent rebirth) that was... not great. I don't even think I listened to the first Infectology album until I discovered this new demo and went back to check it out. It's decent and everything, at least from a songwriting perspective, but the production could not be further from this new demo. In a sense, their 2016 album reminds me a little of some of that oddly-melodic/epic Colombian slam/BDM (such as Blaze Inside or Suppuration), and the sound quality in general is somewhat quaint but not impressive.

Well, forget everything you thought you knew about Infectology before this post (unless you've already listened to this blisteringly-brutal demo, in which case, you definitely already know what I'm about to elucidate upon), because holy fuck. This new demo is unnecessarily intense and tight, jaw-droppingly heavy, massive, and well-written. It starts with four ping-y snare hits that lead to a massive, charging, chunky riff section that features some of the most amazing dual-vocal tradeoffs I've heard lately. The pinch-harmonic laden verse riff that leads to the first rolling slam is out-of-this-world good, bringing to mind comparisons to Cerebral Effusion, and the next few sections are pure ping slam in the Ecchymosis style with lots of fun flair and aplomb throughout. This is a massive step up in quality from the 2016 album. It doesn't even sound remotely like the same band.

The second track seems like it's going to bring out some Hymenotomy-type groove/intensity, but the quick fake-out in the beginning leads to straightforward blasting with heavily reverbed vocals and a continuation of the harmonic-punctuated chunky slam style from the first song. The main thrust of the track has a rolling groove mixed with some chaotic snare rolls and a superb slam that makes me think of the darker and creepier side of slam (somewhat pioneered by Condemned), just overall dripping with atmosphere and intensity. The bass tone on this thing is also out of control, and the playing itself is superb. In a genre where rhythm is extremely important, sometimes it feels like the bass guitar is forgotten. There are some obvious bands that implement this instrument in a meaningful, compositionally-deft way, but a lot of the time it's pretty much just going to be an element that follows the guitar. Right from the outset of the first track, the blasting sections that are punctuated by quick hammer-ons on guitar are also outfitted with loud, clear, and sharp bass playing that is brought alive and rendered interesting and salient by a superb mix. I don't think I'm alone when I say that I cannot fucking wait for the album signaled by these two tracks. Dan at NSE is once again doing a fantastic job scouting talent, no doubt about it. This is the best demo I've heard in ages and I consider it a wonderfully brutal teaser of things to come for this outfit. Listen to it now below.

As always, NSE merchandise is available here.

Abominable Putridity - Parasitic Metamorphosis Manifestation (2021; Inherited Suffering Records)

Welcome back, my fellow slammers. Lately, I've been feeling increasingly-certain that this year will turn out to be one of the most memorable in recent memory for our beloved genre of brutal musical sickness. Out of seemingly-nowhere (though I personally think it's more likely that they popped out of an interdimensional space after hibernating in cosmic stasis for a while), Russian heavy machine Abominable Putridity bestowed upon the world its third full-length album (first in about nine years!) after tons of lineup changes and an air of uncertainty about the future of the project. I realize that there has been a healthy amount of cynicism regarding AP, since news had up until recently been pretty sparse, and of course the mysterious vacating of every member but the drummer and the subsequent recruitment of journeyman vocalist Ángel Ochoa in the early stages of last year were kind of shocking to some fans, but I think I speak for many of us when I say that this album is, perhaps slightly-surprisingly, fucking awesome.

When I got the e-mail from Inherited Suffering Records that this randomly popped up on Bandcamp last week, my jaw hit the floor as I realized it wasn't just another random single but an entire freaking album. There were rumors this was going to drop in 2020, but it seems like it may have required a bit more time in the incubator, or perhaps Alex knew that 2021 would be a better time to drop this as it seems we may be in the middle of a bit of a slam renaissance right now, but whatever the reason, I immediately hit play and proceeded to expect at least some element of disappointment or "well, that was fine, but not sure why we waited so long for it." Again, I'm reasonably confident I speak for at least some of you reading this right now when I say tension was high and expectations were set at a comfortably-moderate level. My fears felt at least slightly quelled as the short intro gave way to a near-perfect chunky slam with some triplet modulations and interesting rhythms peppered throughout. At this point, I was essentially somewhere between "massively-fucking-excited" and "still-somewhat-leery," both due to my familiarity with the earlier version of the next track and my general (probably-misguided) lack of faith.

I really enjoyed "Supreme Void" with Matti on vocals, but I always felt like he phoned in his way around the lyrics, which made it tough to read along to the lyric video they released. I know this is a silly criticism because who really cares about lyrics in stuff like this, but I think it kind of points to a bigger issue within this scene... guest vocalists that just don't feel like they "belong" on the source material. I was a bit worried about the inclusion of Ángel here, too, honestly, and at first I recall thinking his performance on this was a bit lackluster upon initial listens (and it seems like there are different lyric for this track entirely because it's impossible to follow along with the original 2018 words, but I suppose that's not really here nor is it there), but after a while it felt very natural. Think about the vocals on In The End Of Human Existence. They're pretty characterless and bland, right? It feels like Ángel's gutturals here were purposely kept a little plain, and his penchant for wet, slurring, sometimes-goofy vociferations has been seemingly pretty held-back here, but I think it actually works well. Just my opinion, of course. Anyway, the track has heavier and thicker production than the 2018 version, but it's overall pretty similar outside of the vocalist switch.

The opening lurch of "Obscure Entity of Darkness" further sells the excellence of this release and is really the first taste of what you're truly in for during the remainer of the run-time. A superb mix of complex tremolo/blast sections with surprising melodies and hard-hitting slams that plod in the most satisfying way possible. The opening section of "Sphacelated Nerves" from this band's debut has long been one of my favorite slams due to its fun groove and 4/4 splash usage, and it's cool to hear that Alex's callsign of flavorful drumming has remained over the long period since the debut AP work, because the well-done fills and satisfying ride usage have really wormed their way into the mix here in a really efficient way. The crisp mix doesn't hurt either, and I have been pretty consistently impressed by how many times I've picked up small details like bass licks or subtle slam modulations I've missed each time I return to this one. And it's only been a week, so I guarantee I'll be finding more to love about this as the year proceeds.

As someone who was not really big into The Anomalies Of Artificial Origin, I was beyond happy to hear just how much this new album sounds like an energetic, adrenaline-driven mid-point between the caveman slam of In The End... and the spastic technicality of Anomalies... Vigorous, pummeling slams drive most of these tracks to extremely-visceral and satisfying places while slight deviations into chaos help it stay diverse and re-playable without seeming too unhinged. Russian slam has pretty typically been constantly teetering on the edge of "alright guys, this is a bit too much" and "yes, just do exactly that for twenty-five minutes and record it" to me, so that makes the balance this strikes all the more impressive to my trained ears.

Though it will probably take me another few weeks to distinguish these songs from one another without looking at the tracklist, each track does truly feel like a microcosm of excellent ideas pushed to extremely-logical conclusions with very little in the way of noticeable drops in quality. Unexpected twists like the deviant slam about 50 seconds into "Inorganic Infusion Protocol," the weird filter sweep part halfway into "Paroxysm," and the dark, foreboding melody that makes up a lot of the latter half of "Superior Extradimensional Decimation" lend some good delineation to these songs and make the experience feel very purposeful and well-composed, which is a prominent aspect of "one-man slam" acts that is worthy of consideration. Slam solo projects have been a common occurrence for pretty much the entirety of the time I've been into the genre, and in my opinion this is the type of music that benefits from having a single mind do a lot of the creative work because it can be such a straightforward style at its core. It's amusing that this is almost paradoxically not an example of that, considering how off-the-wall some of the stuff happening here is, but the fact that it is pretty invariably-cohesive, single-minded, and relentless speaks to Alex's talents and his growth as a writer over the long years of silence.

Overall, AP's new album is a massive slab of great slam with diverse and flourishing technicality placed at opportune moments along its lean 25 minute run-time. I think this one is going to be pretty tough to top, though several great releases have already found their way into constant rotation on my playlists so far this year; always a great sign. In terms of comparisons to other bands, this seems to owe a lot to Condemned (dark and dreary atmosphere that nevertheless feels alive and dangerous), Defeated Sanity (some songwriting choices feel Lille-esque), and Wormed (general concept as well as the marriage of technicality with chunky slams) by turns, but it really does feel like its own thing. I hope this album gets the praise it deserves, and I'm happy to highly-recommend it to anyone and everyone who loves this type of music. Hell, this has a big enough level of crossover appeal with tech death without really truly immersing into that pool that it could bring over some people who have misunderstood or otherwise not really found themselves enjoying slam over the years. This is a resounding success. Class dismissed. End of discussion.

Relevant Links:
Abominable Putridity - Parasitic Metamorphosis Manifestation (official direct Bandcamp link)
Inherited Suffering Records (official website)