Archive for the ‘Death Metal’ Category

514 replied to RSVP saying I’m attending Undergrind 2012 and just 200 turned up (A ballparkish count). Where did the rest of 300 Metalheads go? “Yikes” Let me re-phrase it where the hell those knuckleheads go? I’m sure saying ‘Yes’ to RSVP gives them an erection along with few threads on their wall “Dude you’re so cool” “You guys are lucky” blah blah blah. “Show cancelled it seems” was the new excuse I heard this time. You either getchya ass down to the event or just say I’m not attending or say” I don’t have a dog in that hunt” which makes more sense than keeping the organizer on a high hope I know they don’t expect such losers.

Well, as expected all the bands were just kick ass. Agnostic impressed me enough to buy their record and oh my god AU (Anorectal Ulceration) vocalist was astounding, those gore screams and squeals just blew me off. Other acts like Bad taste, Jugga were very well suited for the gig; Perforated Limb (PL) headed the stage during my wait to see Worm Rot. I’m bad at remembering names but when Rajiv (will never be erased) took a centre stage, I was like ‘who is this kid?’ But trust me there were no confusion or whatever in me when PL was setting up the stage, I knew if PL is playing just before the headliners they earned it and they sure did, every limb was perforated. Then the Headliners engaged the arena to cease the 2012 Undergrind and it’s quite unusual to see bands with such great companionship (except the local ones), every worm was rotten as sick as it can be.

Live Pics coming soon..


>Rotten Sound

Posted: 2010/07/22 in Death Metal


* Genre(s): Grind core
* Representative Albums: “Cycles”, “Still Psycho”, “Murder works”


Finland, like most countries, has its mainstream, middle-of-the-road pop stars (people who sound like Celine Dion or Gloria Estefan singing in Finnish) as well as its musical extremists who cater to the underground; and rock doesn’t get much more extreme and underground than Rotten Sound. In the ’90s and 2000s, Rotten Sound has favored a brutally harsh, violent, angry, and ferocious approach to death metal/black metal and grindcore. There is nothing merciful about Rotten Sound’s blistering albums, which have a very claustrophobic quality and give the listener no room to breath; when a Rotten Sound album is finished playing, one feels drained and exhausted. And while that mercilessly intense approach has earned Rotten Sound no mainstream acceptance, the band has enjoyed a small but extremely devoted cult following.

Founded by guitarist Mika Aalto in Vaasa, Finland, in 1993, the band quickly earned a reputation for being one of the most intense bands on the Scandinavian death metal/grindcore scene. Rotten Sound — whose early influences included Slayer, Napalm Death, Suicidal Tendencies, Entombed, and Carcass — started recording in 1994, when the headbangers’ debut single “Sick Bastard” came out on the Genet label. Subsequent releases included 1995’s “Psychotic Veterinarian” on SOA, 1996’s “Loosin’ Face” on Anomie, and 1997’s “Splitted Alive” on IDS. Under Pressure, Rotten Sound’s first full-length album, was released by Repulse Records (a Spanish label) in 1998 and was followed by Drain (also on Repulse) in 1999. In the early 2000s, Rotten Sound signed with Necropolis’ Deathvomit subsidiary, which released Still Psycho in 2000 and Murderworks in 2002.

Over the years, Rotten Sound has had some personnel changes; in 2002, the band’s lineup included founder Mika Aalto on guitar, vocalist Keijo Niinimaa on vocals, Mika Häkki (who replaced Pekka Ranta) on bass, and Kai Hahto on drums. In the early 2000s, all four of them preferred to go by one-letter nicknames: Niinimaa went by G, while Häkki called himself H, Aalto went by Q, and Hahto called himself K.


Rotten Sound is a Finnish grindcore band, formed in 1993 in Vaasa.

Rotten Sound plays music in the same vein as Napalm Death and Extreme Noise Terror, lyrically attacking social issues such as greed, conformity and racism. The band has been praised mostly for its ferocity and relentlessness, as well as the unusually high musicianship of the group, particularly ex-drummer Kai Hahto, who left to join the Finnish progressive / melodic death metal band Wintersun.

Formation, Under Pressure and Drain (1993–2000)

Rotten Sound was founded by guitarist Mika Aalto in Vaasa, Finland, in 1993. The group started recordings in 1994, releasing the single Sick Bastard through Genet label. Their subsequent underground releases, between singles and EPs, included 1995’s Psychotic Veterinarian on SOA, 1996’s Loosin’ Face on Anomie, and 1997’s Splitted Alive on IDS.

Rotten Sound’s first full-length album, Under Pressure, was released by Repulse Records (a Spanish label) in 1998 and was followed by Drain (also on Repulse) in 1999. This album was also the debut of second guitarist Juha Ylikoski. In early 2000, the band signed with American Necropolis Records, a subsidiary Deathvomit label for release the EP Still Psycho, which included a cover of Carcass’s “Reek of Putrefaction”. Paul Kott of Allmusic praised the album saying, “Rotten Sound does a good job, and although the audio production does leave something to be desired, the finished product is well worth listening to for any fan of earlier death metal and more recent grindcore. The video segments are very well-produced, with fantastic live audio recording, multiple camera angles, and good edits.” The band toured in Europe to promote the album, along with label mates Hateplow, In Aeturnum and Malevolent Creation.

Murderworks and Exit (2001–2005)

Rotten Sound release their second full-length, Murderworks, in 2002. The Allmusic reviewer Alex Henderson stated, “This 2002 release gives the listener no room to breathe; from start to finish, Murderworks is an exercise in sensory assault for the sake of sensory assault.” For the album’s promotion, the group headline a European tour, titled Murdering Europe, with support of two Czech bands, Fleshless and Lykathea Aflame. They also toured Europe during June 2003, along with Hateplow and Debauchery. In May 2004, Rotten Sound teamed up with Circle of Dead Children, Phobia and Strong Intention for US Grind the East Coast tour. The band’s fourth studio album, Exit, was recorded at Soundlab studio in Örebro, Sweden with engineer Mieszko Talarczyk and mastered at the Cutting Room. Shortly after their release, the album peaked at number 22 on the Finnish album charts. In March 2005, the band teamed up with Disfear for a co-headline Scandinavian tour.


* Mika Aalto (aka “Q”) – guitar (1993–present)
* Keijo Niinimaa (aka “G”) – vocals (1993–present)
* Kristian Toivainen – bass (2010–present)
* Sami Latva – drums (2006–present)

Former members

* Toni Pihlaja – bass (2003-2009)
* Masa Kovero – bass (1994)
* Ville Väisänen – drums (1994)
* Kai Hahto (aka “K”) – drums (1995–2006)
* Pekka Ranta – bass (1998–2000)
* Juha Ylikoski (aka “J”) – guitar (1998–2001)
* Mika Häkki (aka “H”) – bass (2000–2003)



* 1995 – Sick Bastard (Genet Records)
* 1995 – Psychotic Veterinarian (S.O.A. Records)
* 1996 – Loosin’ Face (Anomie Records)
* 2000 – Still Psycho (Necropolis Records/Merciless Records)
* 2006 – Consume to Contaminate (Spinefarm Records / Power It Up Records)
* 2010 – Napalm (Relapse)

Full-length albums

* 1997 – Under Pressure (Repulse Records/Revenge Productions)
* 1998 – Drain (Repulse Records/S.O.A. Records)
* 2002 – Murderworks (Autopsy Stench Records/Necropolis Records/Century
Media Records/Relapse Records)
* 2003 – From Crust ‘Til Grind (Century Media Records)
* 2004 – Murderlive (Spinefarm Records)
* 2005 – Exit (Spinefarm Records/No Tolerance Records/Willowtip Records)
* 2008 – Cycles (Spinefarm Records)


* 1997 – Spitted Alive Split with Control Mechanism (I.D.S. Records)
* 2001 – 8 Hours of Lobotomy Split with Unholy Grave (M.C.R. Records)
* 2003 – Seeds of Hate Split with Mastic Scum (Cudgel Agency)


Posted: 2010/07/03 in Black Metal, Death Metal


  • Genre(s):Black Metal
  • Representative Albums: “Storm of the Light’s Bane”, “Storm of the Light’s Bane/Where Dead Angels Lie”, “Live Legacy”
  • Representative Songs: “Where Dead Angels Lie”, “Night’s Blood”, “Feather’s Fell” 


Gothenburg, Sweden-based death metal outfit Dissection were formed in 1989 by singer/guitarist Jon Nödtveidt and bassist Peter Palmdahl; with the addition of drummer Ole Öhman the following spring, the group recorded its first demo, The Grief Prophecy. Following the 1991 Corpsegrinder single “Into Infinite Obscurity,” Dissection recorded a second demo named The Somberlain, which resulted in a contract with No Fashion Records and their first album (also titled The Somberlain, but also featuring second guitarist John Zwetsloot) in late 1993. Johan Norman replaced Zwetsloot for the follow-up, 1995’s Storm of the Light’s Bane, but then, in July of 1997, Nödtveidt and a friend were charged with the brutal murder of an Algerian homosexual. Both were convicted and Nödtveidt received an eight-year sentence, bringing about the end of Dissection.
Öhman formed a new group called Reaper, and the release of a rarities collection, The Past is Alive, in 1998 felt like the band’s last rites. But the ensuing long silence was eventually broken by 2003’s Live Legacy box set, and Nödtveidt’s release a year later allowed him to finally revive the Dissection name, starting with the two-song Maha Kali EP (part of which was recorded while he was still in jail). A potential collaboration with former Emperor drummer Bard Faust didn’t work out, but by late 2005, Nödtveidt had assembled a new Dissection lineup out of guitarist Set Teitan (see also Aborym), bassist Brice Leclercq (of Nightrage), and drummer Tomas Asklund (ex-Dark Funeral). This foursome recorded Dissection’s well-received third studio album, Reinkaos, which was issued in May 2006 by The End Records, and seemed to confirm the band’s triumphant rebirth — later documented on the aptly named Rebirth of Dissection in-concert DVD.

However, Dissection’s summer tour plans were abruptly cut short, and it was announced that the band would split up following a final string of U.S. dates, which were subsequently canceled due to difficulties obtaining an entry visa because of his criminal record. And then, even while fans were still coming to grips with their disappointment, news began spreading across the Internet that the 31-year-old Nödtveidt had committed suicide with a gunshot to the head, surrounded by candles in his Stockholm, Sweden, apartment, sometime around August 16, 2006. Shortly before the suicide, Nödtveidt is said to have sent farewell letters to his father and several friends and acquaintances — one of which reportedly read, “I’m going away for a long, long time. I’m going to Transylvania.”


Dissection was a black/death metal band from Strömstad, Sweden. The band was formed in 1989 by Jon Nödtveidt and disbanded in 2006 after Nödtveidt’s suicide. Dissection released its first EP in 1991.

In 1988, a thrash metal band by the name of Siren’s Yell was formed in the Swedish town of Strömstad. Its members were Jon Nödtveidt, Ole Öhman, Peter Palmdahl, and Mattias Johansson. The group recorded a single demo before breaking up in 1989. Nödveidt and Öhman continued on to play in the band Rabbit’s Carrot, in which they claim to have never felt quite at home. Nödveidt was increasingly leaning towards death metal and other forms of dark extreme music. Dissection was officially formed in the autumn of 1989 by Nödveidt, who had left Rabbit’s Carrot. Dissection’s line-up, however, was not complete until early the next year when John Zwetsloot joined.

In 1990, Dissection played their first live show with death metal act Entombed. In the same year, they also recorded and released a demo entitled, The Grief Prophecy. It contained three songs and featured illustrations by the artist known as Necrolord, who later created most Dissection album artworks. A special edition of The Grief Prophecy was later released in memory of Dead, the former vocalist for the notorious Norwegian black metal group Mayhem, who committed suicide in 1991. The special release featured album art drawn by Dead himself. Dissection also played a live show in his honour, at which they performed the Mayhem song “Freezing Moon”. The Grief Prophecy was soon spread through the underground, and the French record label Corpsegrinder Records offered Dissection a deal to record an EP. Later that year, Dissection accepted the deal and recorded Into Infinite Obscurity. The band continued to tour.
In 1992, Dissection began work on a full-length album, The Somberlain. Because of coordination problems among members, the entire band moved to Gothenburg, Sweden (where they shared a rehearsal space with At the Gates) in the summer of 1993. The album was finished and released the following December. It was formally dedicated to Euronymous, the then-guitarist of Mayhem, who had been murdered earlier that year. The group also appeared on a Peaceville Records’ compilation CD.

During November 1994, Dissection signed a record deal with the German record label Nuclear Blast. In 1995, the band’s second full-length album, called Storm Of The Light’s Bane, was released. The following year, Dissection also released a short EP entitled Where Dead Angels Lie. It was compiled from previous rare and import releases, and contained only cover songs and demo tracks.
In 1997, Jon Nödtveidt was convicted of helping murder Josef Ben Meddaours, a 38-year-old homosexual Algerian in Gothenburg. He was released from prison in the autumn of 2004. Nödtveidt formed a new line-up for Dissection with none of the previous members participating. Subsequently, Dissection recorded one two-track EP entitled Maha Kali and toured heavily with the “The Rebirth of Dissection” tour. In 2006, Dissection released their third full length album “Reinkaos” through their own label, in association with The End Records. The lyrics in the Reinkaos album contain magical formulae from the book, and are based on the teachings of the “Misanthropic Luciferian Order” of which some others in the group were members. Shortly after the release, in May 2006, in an online chat interview, Dissection announced plans to split following a short tour. This tour was to include two US dates, but these were eventually canceled after Nödtveidt was denied an entry visa to the US, due to his prior incarceration.

The band played its final European concert in Stockholm on Midsummer, 24 June 2006.
Sometime between August 14 and 16, 2006, frontman Jon Nödtveidt committed suicide, and was found dead in his apartment on the 16th. Nödtveidt’s death was confirmed by the Swedish distributor Sound Pollution, whose staff has worked with Dissection throughout the band’s career. Media reports had the man’s body next to a copy of The Satanic Bible. However it was later confirmed by band-mate Set Teitan to in fact be a Satanic grimoire, which is believed to be copy of the Liber Azerate written by Frater Nemidal, leader of the MLO. A posting on the Sound Pollution web site  reads: “RIP Jon Nödtveidt 1975-2006. Condolences from Sound Pollution & Black Lodge.”

The band also made an official statement upon Dissection’s official website.

Philosophical beliefs:

The vocalist of Dissection, Jon Nödtveidt, was a member of the Misanthropic Luciferian Order founded in 1995, Contrary to popular belief, he was not its co-creator, but “was introduced […] by close friends at a quite early stage.” The order has since renamed to Temple of the Black Light. Some members of Dissection were very involved in the group. Former bassist, Haakon Forwald of Disiplin, pulled out of Dissection, saying it was partly in order to concentrate on his esoteric studies. The MLO planned to release Liber Azerate, a grimoire written by MLO Magister Templi Frater Nemidial in 2002. It was released on the internet in Swedish and Norwegian. Azerate is the hidden name of the “eleven Anti-cosmic gods”, as described in the book.

The Temple of the Black Light believe in “Chaosophy”. They believe that Chaos is the plane and/or power with infinite amounts of space and time, containing all dimensions, in contrast to cosmos, which only has three spatial dimensions and one linear time dimension. Chaos, unlike the cosmos, is ever-changing.
Extreme militant nihilism is taught within the group, and they say the true satanist is not part of the modern society, as it is founded upon lies.

They believe in three forces, three dark veils – chaos, emptiness and darkness, which were expelled from Ain Sof in order to make way for the manifestation of The Black Light in The Outer Darkness that soon became Sitra Ahra. The three forces are the three steps back to a mysterious chaos.

These forces are above the Thaumitan, a two-headed god who allows the connection to the spiritual world. Members of the MLO seek to make that connection and channel the Black Light.

The Temple of the Black Light also believe there are eleven aeons; those of Moloch, Beelzebuth, Lucifuge Rofocale, Astaroth, Asmodeus, Belfegor, Baal, Adramelech, Lilith, Naamah and Satan. Azerate is eleven united as one, and these forces combined are those revered by the MLO/Temple of the Black Light.
Some former members of Dissection have gone on to form other bands, also influenced by their beliefs based on the MLO.


Final line-up



Former members

  • Peter Palmdahl – bass (1989–1997)
  • Ole Öhman – drums (1990–1995)
  • Mattias “Mäbe” Johansson – guitar (1990) (session live)
  • John Zwetsloot – guitars (1991–1994)
  • Johan Norman – guitars (1994–1997)
  • Tobias Kjellgren – drums (1995–1997)
  • Emil Nödtveidt – bass (1997) (session live)
  • Brice LeClercq – bass (2004–2005)
  • Hakon Forwald – bass (2005)
  • Erik Danielsson – bass (2005–2006) (session live)


Studio albums

Live, EP, and compilation releases


  • The Grief Prophecy (1990)


  • Live & Plugged Vol. 2 (VHS) (1997)
  • Rebirth of Dissection (DVD) (2006)


Posted: 2010/06/16 in Death Metal


 Formed: 1997
Genre(s): Black/Folk Metal

 Finntroll is an extreme metal and folk metal band from Helsinki, Finland. They combine elements of black metal, death metal, and folk metal with a type of Finnish folk music called humppa. Finntroll’s lyrics are mostly in Swedish, the only exception being the song “Madon Laulu” on Visor Om Slutet. Finntroll’s first singer Katla decided to use Swedish over Finnish since he was part of a Swedish-speaking minority in Finland and the sound of the language seemed to better suit the band’s “trollish” outfit. Despite several vocalist changes, this tradition has since been continued.

According to bandmembers Vreth and Skrymer, they took their name from an old Finnish legend where Swedish priests coming to Finland had an encounter with a wild-looking man who killed most of their party. The survivors came back bearing the tale of the Finn-Troll.
Finntroll’s lyrics mainly deal with legends and tales revolving around the fictional Troll-King “Rivfader” and the trolls fighting against the Christians who invade their lands and try to spread their beliefs. A recurring theme is the story of two priests named “Aamund” and “Kettil”. The first three full length albums feature a rather short but fierce song about the two men who constantly get themselves into trouble with the trolls, only to get beaten up and mutilated over and over again by the wrathful followers of Rivfader.

As of February 2010, the band’s discography includes 5 full-length albums and 2 EPs, their latest album Nifelvind was released February 17 in Finland.


Finntroll was founded in 1997, by Teemu “Somnium” Raimoranta (guitarist of Impaled Nazarene) and vocalist Jan “Katla” Jämsen. Their first demo, “Rivfader” (“Ripfather”), was recorded about a year later, in 1998. After the demo recording, drummer Samu Ruotsalainen (from Barathrum, Shape of Despair and Rapture), guitarist Samuli Ponsimaa, keyboardist Henri “Trollhorn” SorvaliMoonsorrow) and bassist Sami UusitaloSpinefarm got interested in the band then, and made a contract, yielding the album Midnattens Widunder(“Monstrosities Of The Midnight”) as a result. (from joined the band. The record label

The next step for Finntroll was the album Jaktens Tid (“Age Of The Hunt”), which was released in 2001. This album managed to climb to rank 20 of the Finnish album charts, exceeding expectation of band and publisher alike. The following wave of popularity attracted the attention of Century Media, which began promoting Finntroll for the rest of the world. The following summer, the band had their first time playing on open air festivals in Finland and other countries.
The year after the release of the album Jaktens Tid proved to be a misfortune for Finntroll: some tours had to be cancelled, and in the aftermath of his problems, vocalist Jämsen had to retire from the band due to a viral-based tumor in his vocal cords which could not be removed surgically; he retired after the release of the EP Visor Om Slutet.
Said EP was recorded in early January 2003, in a forest cabin near Helsinki. It was an “acoustical experiment”, where Jämsen and the new vocalist Tapio Wilska (of Sethian and Lyijykomppania) shared the singing duties among them. Visor Om Slutet (“Melodies About The End”) was released as a mid-price EP and held rank on the Finnish midprice chart for several weeks.

On March 16, 2003, shortly before the release of Visor Om Slutet, guitarist Teemu Raimoranta died when he fell off a bridge in Hakaniemi, Helsinki. Although they had lost their last remaining founding member in this tragic event, the band did not dissolve, but after some time decided to go on, touring Europe for two weeks, supported by the band Katatonia. Guitarist Mikael Karlbom was hired as a replacement for Raimoranta.

In 2004, the band released another EP, Trollhammaren (“The Trollhammer”), a prequel to the soon to follow album Nattfödd (“Nightborn”). This release earned them international acclaim and had the band embarking on their first North American tour, along with the influential thrash metal band Sodom in early 2006.
During 2005, keyboardist Trollhorn decided not to play live anymore due to private reasons. A replacement for shows to come was found in Aleksi “Virta” Virta of the band Imperanon, whom he knew from SibeliusMusic College in Helsinki, where Trollhorn had been teaching. After some auditioning and rehearsing, he became a steady part of the touring line-up.

On January 29, 2006, Tapio Wilska, vocalist of the band since 2002, was fired from the band. In a statement issued on the band’s website, Wilska states that he would like to keep the reason for his dismissal private.
Following Wilska’s parting with the band, they decided to take on Mathias “Vreth” Lillmåns of Chtonian and Twilight Moon as a full-time member on vocals.
A new album, titled Ur Jordens Djup (“From The Depths Of The Earth”), was released March, 2007. This fourth album put more emphasis on epic keyboard riffs with very loud but melodic guitar and downplayed some of the Humppa elements. Former vocalist Katla was brought in to write the lyrics for this album. The last song contains an acoustic hidden track entitled Trollvisan which can be heard at 11:03 minutes. It is commonly believed to be the installment’s “Aamund och Kettil-Song”, yet there is no mention of the two priests ion the lyrics, the song rather refers to “de kristna” (“the Christians”) in general.
After being a session member on keyboards since 2005, Aleksi “Virta” Virta was made a full time member in late 2009.

The band has recorded a live performance for its upcoming first live DVD. A release date is yet to be confirmed. They have released their fifth album, titled Nifelvind (“Nifelwind”), and Katla has again written the lyrics. The progress on the album was recorded by Trollhorn in a studio diary found here. On January 15, 2010 Finntroll released a music video for the new song “Solsagan” on their MySpace page in preparation for the album releaseThe new album was then released in February 2010.

Current members

•    Mathias “Vreth” Lillmåns – vocals (2006–present)
•    Samuli “Skrymer” Ponsimaa – guitar (1998–present)
•    Mikael “Routa” Karlbom – guitar (2003–present)
•    Sami “Tundra” Uusitalo – bass (1998–present)
•    Samu “Beast Dominator” Ruotsalainen – drums (1998–present)
•    Henri “Trollhorn” Sorvali – keyboards (1998–present)
•    Aleksi “Virta” Virta – live keyboards (2005-present)

•    Jan “Katla” Jämsen – lyrics (1997-2002 / 2006-present)
Former members
•    Katla – vocals (1997-2002)
•    Teemu “Somnium” Raimoranta – guitar (1997–2003) (deceased)
•    Tapio Wilska – vocals (2002–2006)
Studio albums
•    Midnattens Widunder (1999)
•    Jaktens Tid (2001)
•    Visor Om Slutet (2003)
•    Nattfödd (2004)
•    Ur Jordens Djup (2007)
•    Nifelvind (2010)
•    Trollhammaren (2004)
•    “Rivfader” (1998)
•    “Trollhammaren” (2004)
•    “Nedgång” (2007)
•    “Solsagan” (2010)
•    “Under Bergets Rot” (2010)

>Malevolent Creation

Posted: 2009/12/01 in Death Metal

>• Genres: Death Metal
• Representative Albums: “The Ten Commandments,” “Eternal,” “Retribution”
• Representative Songs: “Impaled Existence,” “No Salvation,” “Slaughter of Innocence”


Arising from the death metal hotbed of Florida in the early ’90s (but originally from Buffalo, NY), Malevolent Creation tend to be somewhat overlooked in discussions of groups who helped define the sound and style of American death metal. Initially inspired by the sonic and lyrical extremity of Slayer, the group landed a deal with Roadrunner Records at the dawn of the ’90s, featuring a lineup of vocalist Brett Hoffmann, guitarists Phil Fasciana and Jeff Juskiewicz, bassist Jason Blachowicz, and drummer Mark Simpson. Their 1991 debut album, The Ten Commandments, became something of a landmark in the death metal underground, expanding on the early work of Slayer and fellow Floridians Death. Its sequel, 1992’s Retribution, was just as strong, featuring two new members added from Solstice — guitarist Rob Barrett (who replaced Juskiewicz) and drummer Alex Marquez. Barrett and Marquez were replaced by John Rubin (who had been in a very early lineup of the band) and “Crazy” Larry Hawke for 1993’s Stillborn, which disappointed many of the group’s faithful and signaled an acrimonious end to their relationship with Roadrunner. Those label difficulties nearly broke the band apart, but they eventually resurfaced on Pavement Music with a more progressive, technical approach and an even more revamped lineup on 1995’s Eternal. Hoffmann was gone, with the vocals now handled by bassist Blachowicz, while guitarists Fasciana and Rubin were joined by ex-Suffocation drummer Dave Culross. The remixes/outtakes/demos collection Joe Black appeared in 1996, followed the next year by In Cold Blood, which featured guitarist John Paul Soars taking Rubin’s place, and drummer Derik Roddy replacing Culross. For 1998’s The Fine Art of Murder, Fasciana (now doubling on keyboards) brought vocalist Hoffmann, guitarist Barret, and drummer Culross back to the fold, along with new bassist Gordon Simms. The Pavement label retrospective, Manifestation, appeared in 2000, followed towards the end of the year by the all-new Envenomed. The sequel to Envenomed came out two years later, followed a few months later by drummer Justin DiPinto’s last album with the group, The Will to Kill.


Malevolent Creation is a death metal band originally hailing from Buffalo, New York. Moving to Florida in 1988, they became a part of the emergent local death metal scene, landing a deal with Roadrunner Records. Their debut album, The Ten Commandments, became something of a landmark in the death metal underground, expanding on the early work of Slayer and fellow Floridians Death.

According to a series of posts published at, Phil Fasciana claimed (via several emails he sent to he was involved in a shootout in which he shot and killed a man who he says was robbing a store he was in.


Current members

• Bret Hoffmann – vocals
• Marco Martell – guitars
• Phil Fasciana – guitars
• Gio Geraca – bass guitar
• Gus Rios – drums

Former members

• Peter Tägtgren – guitars
• Jim Nickles – guitars
• Kyle Symons – vocals
• Jeff Juszkiewicz – guitars
• Rob Barrett – guitars
• John Paul Soars – guitars
• Jason Hagan – guitar
• Gordon Simms – bass guitar
• Jason Blachowicz – bass guitar
• Justin DiPinto – drums
• Alex Marquez – drums
• Mark Simpson – drums
• Dave Culross – drums
• David Kinkade – drums
• Derek Roddy – drums
• Fabian Aguirre – drums


Studio Albums

• The Ten Commandments, (Roadrunner Records, 1991)
• Retribution (Roadrunner Records, 1992)
• Stillborn (Roadrunner Records, 1993)
• Eternal (Pavement Music, 1995)
• In Cold Blood (Pavement Music, 1997)
• The Fine Art of Murder (Pavement Music, 1998)
• Envenomed (Arctic Music, 2000)
• The Will to Kill (Arctic Music, 2002)
• Warkult (Nuclear Blast, 2004)
• Doomsday X (Nuclear Blast, 2007)

Live Albums

• Conquering South America (Arctic Music), 2004)
• Live at the Whiskey (Arctic Music, 2008)


• Joe Black (Pavement Music, 1996)
• Manifestation – Compilation (Pavement Music, 2000)
• The Best of Malevolent Creation (Roadrunner, 2003)
• Retrospective (Crash Music, 2005)
• Essentials (Crash Music, 2009)

• Lost Commandments (Massacre Records, 2008)


Posted: 2009/11/25 in Death Metal

>• Formed: 1985, Tampa, FL
• Genres: Rock
• Representative Albums: “The End Complete,” “Anthology,” “Slowly We Rot”
• Representative Songs: “Chopped in Half,” “Slowly We Rot,” “Internal Bleeding”


Possessed and Death may have brought death metal to life, but Obituary brought it to fruition. After releasing some demos as Xecutioner as far back as 1986, the five-man band debuted as Obituary on Roadrunner Records in 1989 with Slowly We Rot, and in a word, the album was landmark. The previous forays into what would quickly become tagged as death metal — primarily by the above-mentioned bands, Possessed and Death, along with grindcore innovators Repulsion and Napalm Death — were exercises in relentlessness.
These bands took the breakneck abandon of Slayer’s Reign in Blood one step further, to the point of sheer, sometimes even ridiculous musical abandon. Obituary, on the other hand, varied their tempo considerably — and did so at the absolute height of speed metal nonetheless. Yes, the band could play at breakneck speed, but within the same song, guitarists Allen West and Trevor Peres could slow the tempo down to dirge-like levels in a moment’s notice, all the while keeping the music as heavy as hell thanks to down-tuned guitars and the snarling vocals of John Tardy. As a result, Slowly We Rot made quite a splash back in 1989, influencing an entire legion of death metal bands in Florida: Morbid Angel, Deicide, Malevolent Creation, Cannibal Corpse, and numerous others now forgotten among the thousands of international bands that followed. In a way, Slowly We Rot was the prototypical death metal album, establishing a template that would come to define the style (one that is distinct from grindcore or black metal, it should be pointed out). A few albums followed — Cause of Death (1990) and The End Complete (1992) both also very influential — but by the mid-’90s Obituary had run its course and the band splintered, reuniting now and then. Yet even as the bandmembers went their seperate ways (most notably West going on to much success as the guitarist of Six Feet Under), Obituary continued to stand tall as one of the definitive death metal bands, if not the definitive (a distinction that probably goes to Death, whose James Murphy actually was a bandmember for a while). Their latest, Xecutioners Return was released in August 2007 on the Candleight label.


Obituary is an American death metal band formed in 1985 in Tampa, Florida under the name Xecutioner and later renamed to Obituary. The band comprises vocalist John Tardy, drummer Donald Tardy, guitarists Trevor Peres and Ralph Santolla and bassist Frank Watkins. The band is a fundamental act in the development of death metal music and one of the most successful bands in its genre.

Founded as Xecutioner in Seffner, Florida during 1985, at the time the band was composed of John Tardy (vocals), Allen West (lead guitar), Trevor Peres (guitar), Jerome Grable (bass) & Donald Tardy (drums). They made their vinyl debut in 1987 with two tracks (Find The Arise & Like The Dead) on the Raging Death compilation. Not long after its release Grable was replaced with bassist Daniel Tucker. Shortly before the release of its first album the following year, “Slowly We Rot”, they changed their name to Obituary. The band still remains an influential band of the Florida death metal movement that arose in the late 1980s. The 1990 release Cause of Death has been described as a seminal album in the genre, and vocalist John Tardy is recognized as one of the first vocalists to use an abnormally low growl (compared to the screechy growls used by predecessors Death and Possessed). Obituary is listed by Nielsen Soundscan as the fifth best-selling death metal band of all time and its albums have sold 368,184 copies; their 1992 release The End Complete has sold more than 103,378 copies in the United States alone.

After 1997’s Back from the Dead album, the band had grown tired of touring, which led to the band disbanding. During the hiatus, Donald Tardy played in Andrew W.K.’s touring band (during W.K.’s appearance on Saturday Night Live Tardy wore an Obituary shirt). Allen West focused on his two projects, Lowbrow and Six Feet Under while not playing in Obituary. Trevor Peres formed Catastrophic in 2001, which released one album, The Cleansing, in that same year. Obituary reformed in 2003 and Catastrophic continued to exist alongside the reformed Obituary. A reunion album, Frozen in Time, was released in 2005. The band’s first live DVD, Frozen Alive, was released in January 2007.

Obituary is currently signed with Candlelight Records for its Xecutioner’s Return (2007) and an EP, Left to Die (2008). The band has finished recording their next album, Darkest Day, which was released on June 30, 2009. A concert DVD release was also announced for June 2009.

Obituary’s guitarist, Allen West, was imprisoned for DUI (driving under the influence of alcohol) and released in January 2008. During his incarceration, Ralph Santolla served as West’s replacement. It is uncertain whether or not West will be returning to the band.


Current members

• John Tardy – vocals (1984–1997, 2003–present)
• Donald Tardy – drums (1984–1997, 2003–present)
• Trevor Peres – rhythm guitar (1984–1997, 2003–present)
• Frank Watkins – bass guitar (1989–1997, 2003–present)
• Ralph Santolla – lead guitar (2007–Present)

Former members

• Allen West – lead guitar (1984–1989, 1992–1997, 2003–2006)
• Jerome Grable – bass (1984-1988)
• James Murphy – lead guitar (1990)
• Daniel Tucker – bass guitar (1988–1989)


Studio albums

• Slowly We Rot (1989)
• Cause of Death (1990)
• The End Complete (1992)
• World Demise (1994)
• Back from the Dead (1997)
• Frozen in Time (2005)
• Xecutioner’s Return (2007)
• Darkest Day (2009)

Live albums

Dead (1998)

Compilation albums

• Anthology (2001)
• The Best of Obituary (2008)


• Don’t Care (1994)
• Left to Die (2008)

Video albums

• Frozen Alive (2006)
• Live Xecution in Bad Berka 2008 (2009) Official page

>Dark Tranquility

Posted: 2009/11/19 in Death Metal

>• Genre(s): Death Metal
• Representative Albums: “The Gallery,” “Skydancer/Of Chaos and Eternal Night,” “Haven”
• Representative Songs: “ThereIn,” “Punish My Heaven,” “Insanity’s Crescendo”


Towards the end of the ’90s, Scandinavian death metal — or at least one branch of it — began to evolve into a more accessible amalgamation of death-metal intensity, a bit of progressive-metal experimentation, and more traditional late-’70s/early-’80s British metal, with its catchy, groove-oriented riffs and twin-guitar lead lines. Although the style was hardly confined to one place, there was an especially fertile scene centered in the Swedish city of Gothenburg, and Dark Tranquillity was one of its most prominent practitioners. Formed in 1989, Dark Tranquillity honed their chops for a few years, and debuted on records in 1993 with the album Skydancer; their lineup consisted of vocalist Anders Freiden, guitarists Niklas Sundin and Mikael Stanne, bassist Martin Hendriksson, and drummer Anders Jivarp. The band shuffled its membership for the 1995 follow-up EP Of Chaos and Eternal Night; upon Freiden’s departure, Stanne took over lead vocals, and was replaced on guitar by Fredrik Johansson. This lineup remained intact for the full-length The Gallery, issued later that year, which helped begin to build an international fan base. Follow-ups Enter Suicidal Angels (an EP) and the full-length The Mind’s I appeared in 1997, marking a tightening of the group’s sound into a more compact attack; in 1999, Dark Tranquillity departed the Osmose label in favor of a deal with Century Media, which was consummated with the release of the more gothic-flavored Projector later that year. Electronics manipulator Martin Brandstrom subsequently joined the group as an official member, and guitarist Johansson departed; bassist Hendriksson took over for him on guitar, and his spot was in turn filled by Michael Niklasson. Haven was released in mid-2000, continuing the less traditional approach of its predecessor.


Dark Tranquillity is a melodic death metal band from Gothenburg, Sweden. They are one of the longest-standing bands from the original Gothenburg metal scene and one of the pioneers of the melodic death metal genre, along with In Flames and At the Gates.

Skydancer (1989-1994)

Dark Tranquillity was formed in 1989 by Mikael Stanne & Niklas Sundin who looked at their influences then decided to form their own Band, under the name Septic Broiler as a thrash metal band. Another reason for their formation was that they were bored so they decided to obtain the other three members Anders Fridén, Anders Jivarp & Martin Henriksson in which they all lived on the same street. Since its formation the band has had a fairly stable line-up. In 1990, the band recorded a demo cassette tape entitled Enfeebled Earth before they would change their name to Dark Tranquillity and change their musical style. It was followed by two more demos: Trail of Life Decayed (1991) and A Moonclad Reflection (1992) — both of which were later remastered and re-released on Exposures – In Retrospect and Denial in 2004. In 1993, Skydancer was released, and Anders Fridén, Dark Tranquillity’s original lead vocalist, left the band and later joined In Flames. Mikael Stanne, who formerly played rhythm guitar and provided backing vocals, then became the lead vocalist, and Fredrik Johansson was recruited to take over rhythm guitar duties.

The Gallery (1995-1996)

In 1995, Dark Tranquillity released The Gallery, considered a landmark in melodic death metal, which saw the band tightening their production details to a great extent, and showed that the new line-up was an essential change that furthered the band as a whole.

The Mind’s I (1997-1998)

In 1997, The Mind’s I was released, which saw a slight change in sound. Before the release of the band’s 1999 album, Projector, Fredrik Johansson was asked to leave Dark Tranquillity due to his lack of devotion to the band. Martin Henriksson then switched from playing bass to guitar to replace Johansson, and the band added Mikael Niklasson on bass and Martin Brändström on keyboards and electronics. At this point the band also signed to Century Media Records. Until 2008, the band had remained stable in its line-up and its musical style; blending layers of rapid guitar lines with harmony-rich electronic keyboard washes and extremely precise rhythms underneath Stanne’s abstract growled lyrics.

Projector (1999)

In 1999, Projector (later nominated for a Swedish Grammy Award) became the fourth output from the band, and saw a change in songwriting. While retaining growled vocals and their signature death metal sound, pianos, baritone soft vocals, and verse-chorus fashion song structures were now integral parts of Dark Tranquillity’s sound.

Haven (2000-2001)

Year 2000 saw the release of Haven which saw the addition of slight electric keyboard sounds, but also abandoned most all of the clean vocals in favor of a slightly heavier sound.

Damage Done (2002-2004)

Dark Tranquillity released Damage Done, and was intended to be a step in a heavier direction, adding thicker guitar distortion, deep atmospheric keyboards, and abandoning soft vocals altogether.

Character (2005-2006)

Character was the seventh release from Dark Tranquillity, released in 2005, and was held in much critical praise. It featured the first music video released by Dark Tranquillity to feature the band itself, with the single “Lost to Apathy.”

Fiction (2007-2009)

In 2007, Fiction was released, which in turn, saw a return of Mikeal Stanne’s clean vocals, and the first female guest vocalist since Projector. Dark Tranquillity have recently toured with The Haunted, Into Eternity, and Scar Symmetry for the North America Metal For The Masses Tour. They returned to the U.S. during the Spring of 2008 with Arch Enemy. They have also toured the UK in early 2008 along with Omnium Gatherum. They are preparing for a live DVD to be released sometime in 2009. On the band’s official website they announced that bass guitarist Mikael Niklasson left the band in August 2008 due to personal reasons with no hard feelings between him and the band. On September 19, the band found a new bassist in Dimension Zero guitarist Daniel Antonsson, who also was a guitarist for Soilwork. May 25, 2009, saw reissues of Projector, Haven & Damage Done.

We Are The Void (2009-Present)

In October 2009, Dark Tranquillity finished work on their 9th studio album, ‘We Are The Void’, scheduled for release in February 2010.


Throughout their 20 years active Dark Tranquillity have had only three line-up changes and 4 of the original members are still in the band today, although only Niklas Sundin and Anders Jivarp have maintained their original roles as lead guitarist and drummer respectively.

Current members

Mikael Stanne vocals
Niklas Sundin guitar
Martin Henriksson guitar
Daniel Antonsson bass guitar
Anders Jivarp drums
Martin Brändström electronics, piano

Former members

Anders Fridén Vocals
Fredrik Johansson Guitar
Mikael Niklasson Bass Guitar
Session members
Robin Engström – drums (tour 2001)


The Gallery
The Mind’s I
Damage Done
We Are The Void – Official page


Posted: 2009/11/18 in Death Metal

>• Formed: 1989, Stockholm, Sweden
• Genre(s): Death Metal
• Representative Albums: “Wolverine Blues,” “Left Hand Path,” “Morning Star”
• Representative Songs: “Stranger Aeons,” “Wolverine Blues,” “Crawl”


Scandinavian metal legends Entombed were at the forefront of the death metal uprising, releasing their influential debut, Left Hand Path, in 1990, just as the movement was beginning to proliferate internationally. By the time death metal had become a mass phenomenon in the mid-’90s, however, Entombed had begun experimenting with different approaches, sometimes to much acclaim (as in the case of Wolverine Blues) and occasionally to disregard (Same Difference). Nevertheless, it was the band’s debut, Left Hand Path, that held up best over the years. Canonized as a death metal classic — one of the earliest, in fact — Left Hand Path’s buzzsaw guitar riffs and varied tempos, in particular, differentiated Entombed from seminal Earache Records labelmates such as Napalm Death, Carcass, Terrorizer, and Morbid Angel, who, with their unrelentingly lightning-fast tempos and blastbeat drumming, were more in line with grindcore than death metal. Successive Entombed releases on Earache — Crawl (EP, 1990), Stranger Aeons (EP, 1991), Clandestine (LP, 1991), Hollowman (EP, 1993), Wolverine Blues (LP, 1993) — were well received on all counts; however, like many death metal bands of the time, Entombed had to endure a revolving door of bandmembership, most noticably in the songwriting department. To Ride, Shoot Straight and Speak the Truth (1997) marked a couple major changes for Entombed: it was the band’s first since leaving Earache (a celebrated indie with major-label ties) and establishing their own label, Threeman Recordings, and it also was the band’s last to feature talented drummer/songwriter Nicke Andersson, who chose to focus full-time on his other band, the Hellacopters, for which he sang and played guitar. Consequently, Entombed languished for a couple years, though Uprising (1999), the first in a series of potent back-to-basics albums to follow throughout the ensuing decade, signaled a return to form (i.e., “death & roll,” as it was coined).

The roots of Entombed lie in the band Nihilist, which was formed in Stockholm, Sweden, in 1987 by drummer/guitarist Nicke Andersson, guitarist Alex Hellid, and guitarist/bassist Leif “Leffe” Cuzner (each was around 15 years old at the time, born in 1972-1973). Nihilist recorded a number of demos between 1988 and 1989 (i.e., Premature Autopsy, Only Shreds Remain, Drowned — all of which were compiled, along with session recordings, and released by Threeman in 2005 as Nihilist [1987-1989]), and these recordings included additional members: vocalist Lars-Göran Petrov (aka L.G. Petrov), guitarist Ulf “Uffe” Cederlund, and bassist Johnny Hedlund. Of particular note, the Only Shreds Remain demo, recorded over the course of two days in December 1988 at Sunlight Studios in Stockholm with producer Tomas Skogsberg, was perhaps the first death metal recording from Scandinavia to circulate widely among the underground metal tape-trading network that at the time was comprised almost exclusively of British and American bands. While opening for the Lee Dorian-fronted lineup of Napalm Death in Stockholm, Nihilist gave one of their demo tapes to a representative of Earache Records. Impressed, the label later offered the band a recording contract. Meanwhile, bassist Johnny Hedlund left Nihilist after the Drowned demo in August 1989, subsequently forming Unleashed, another Scandinavian metal pioneer. Guitarist/bassist Leif Cuzner had previously left the band, for his parents moved his family to Canada.

Nihilist disbanded after Hedlund’s departure; with little hesitation, however, the remaining members — Andersson (drums), Hellid (guitar), Cederlund (guitar), and Petrov (vocals) — then chose to re-form as Entombed. With bassist David Blomqvist taking the place of Hedlund, the rejuvenated band returned to Sunlight Studios and recorded the But Life Goes On demo on September 23, 1989, once again working with producer Tomas Skogsberg. Shortly thereafter, Entombed was back at Sunlight working with Skogsberg, this time on their debut album for Earache, Left Hand Path (1990), which was comprised largely of reworked Nihilist songs. Bassist Lars Rosenberg joined the lineup after the completion of the album, on which Andersson and Cederlund were co-credited with bass. Of greater consequence, vocalist Lars-Göran Petrov left the band. Entombed in turn recruited Orvar Säfström of the band Nirvana 2002 to sing on Crawl (1990), a three-song EP. However, when it came time to record Clandestine (1991), Entombed’s second album, drummer Nicke Andersson assumed the vocal duties; he also wrote the bulk of the album, earning sole or co-credit for each song. For purposes of touring, the band recruited another vocalist, former Carnage bassist Johnny Dordevic. Yet by the time Entombed embarked on the Gods of Grind tour (a showcase of Earache bands also including Carcass, Cathedral, and Confessor) in fall 1991, Petrov had reclaimed his membership as the band’s vocalist.

With Petrov back in the lineup, the high-profile Gods of Grind tour behind them, and two acclaimed albums to their name, Entombed went about working on their third album, Wolverine Blues (1993). Once again written largely by Andersson, Wolverine Blues proved a significant departure from Entombed’s previous efforts. For one, the band scaled back the velocity of their music, from the breakneck tempo shifts of their prior material (à la death metal) to a crushing mid-tempo groove (à la Pantera circa Vulgar Display of Power). Secondly, the band adopted more traditional verse-chorus-verse songwriting structures with memorable hooks. Plus, the vocals were comprehensible. These changes clearly set Entombed apart from their death metal peers, but the absolutely brutal delivery of the music, especially the signature buzzsaw guitars and Petrov’s menacing vocals (more yelling than growling), also set the band apart from the mainstream. Moreover, Earache had aligned itself with Columbia Records, a partnership that promising indie cred with major-label distribution. The six-track Hollowman EP (1993) was the first Entombed release to benefit from the Earache/Columbia partnership; featuring an instrumental version of “Wolverine Blues,” the EP drummed up significant interest in the forthcoming album. Released in two versions, one a Marvel Comics promotion featuring Wolverine from X-Men, Wolverine Blues sharply divided fans upon its release. Death metal purists abhorred the stylistic change in direction, while other fans were pleased to see the band push forward creatively into fresh territory, especially now that a legion of similar-sounding death metal bands had arisen in the wake of Left Hand Path. Even to this day, fans remain divided over Wolverine Blues; without question, though, the greater accessibility of the music did attract a new wave of fans to Entombed, and the album is generally acknowledged as a high-water mark for the band, as it would become a regular benchmark for judging the quality of future releases.

Following the release of Wolverine Blues, Entombed toured Europe with Napalm Death and released the Out of Hand single. Bassist Lars Rosenburg then left the band in 1995; Jörgen Sandström, the former bassist/vocalist of Grave, filled his slot. Among other changes, Entombed secured new management, left Earache, and signed to EastWest. This new label deal didn’t work out, unfortunately: Entombed recorded a new studio album, but the label didn’t release it and ultimately dropped the band for business reasons. The label woes endured by Entombed ultimately motivated them to form their own label, Threeman Recordings, and procure distribution deals for various regions (for instance, Music for Nations in the U.S.). To Ride, Shoot Straight and Speak the Truth, the band’s fourth full-length, was finally released in 1997; Earache concurrently released Entombed, a compilation of previously released non-LP material. To Ride, Shoot Straight and Speak the Truth was well received (for example, earning a second-place vote in European magazine Metal Hammer’s best-of-1997 poll, as well as earning the band a slot opening for Machine Head on tour) and was fairly similar in style to Wolverine Blues, though noticeably rougher around the edges and a little less memorable in terms of songwriting.

Andersson, the band’s drummer and primary songwriter, left Entombed at this juncture, choosing to dedicate himself full-time to his other band, the Hellacopters, which was considerably acclaimed at the time. Drummer Peter Stjärnvind was brought in almost immediately, for touring commitments remained, carrying on well into 1998 (including the band’s first North American dates since the Gods of Grind tour in 1991). Upon the completion of touring, Entombed worked with producer Daniel Rey on Same Difference (1999); not only was it the band’s first album without Andersson’s songwriting, but it was their first without Tomas Skogsberg’s production. Largely written by guitarist Uffe Cederlund, Same Difference was a clear departure for the band, taking them much further away from their death metal roots than Wolverine Blues had. Whereas Wolverine Blues had divided fans, Same Difference reunited them in disregard, if not outright disdain. Earache once again released a back-catalog item concurrently, in this case Monkey Puss: Live in London (1999), a CD/DVD recording of Entombed from the European leg of the Gods of Grind tour, circa March 1992. An EP of covers, Black Juju (1999), was also released around this time, as Entombed returned to the road, touring with Meshuggah and Skinlab, respectively.

To relief of many fans and the praise of critics, Uprising (1999) signaled a return to form for Entombed, who recorded and mixed the purposefully raw album with producer Nico Elgstrand over the course of only 18 days. A tour of Europe and Canada in support of Iron Maiden followed, along with solo dates. Deemed a classic in some corners, Morning Star (2001) was a similarly raw-sounding effort, though considerably more dynamic in terms of tempo and mood; some likened it to the work of prime-era Slayer. In commemoration of Entombed’s 15th anniversary, Threeman compiled Sons of Satan Praise the Lord (2002), a double-disc covers collection that was wide-ranging in source material (from Venom to Bob Dylan). Also in 2002, Entombed performed a special concert at the Swedish Royal Opera House with the Royal Ballet Ensemble; the performance was recorded and later released as Unreal Estate (2004). Co-produced by the band with Per Gunnerfeldt, Inferno (2003) was also similar in sound to Uprising and Morning Star (i.e., raw), though it too had its own peculiarities: a comparison was drawn to stoner metal by some, while others likened the rough-hewn production unfavorably to that of Metallica’s ill-fated St. Anger (2003). Stateside editions included a bonus EP, Averno, comprised of extra material from the Inferno sessions, along with a couple videos. Besides a lot of touring during this period, Entombed experienced another round of departures: bassist Jörgen Sandström left in January 2004, replaced by Nico Elgstrand; guitarist Uffe Cederlund left in September 2005, going unreplaced; and drummer Peter Stjärnvind left in 2006, replaced by Olle Dahlstedt.

Now a four-piece, Entombed released the five-song When in Sodom EP on June 6, 2006 (i.e., 6-6-6), and the Serpent Saints: The Ten Amendments LP in 2007. This pair of releases — the first new material from Entombed in three years, and without the songwriting of Cederlund, who had written most of the band’s songs following the departure of Andersson — fortunately found the band revitalized and as brutal as ever. In general, Serpent Saints was reviewed in glowing terms, with many critics declaring it on a par with Uprising and Morning Star. Candlelight USA, the album’s stateside distributor, marketed it as “Entombed’s best work since Wolverine Blues!”


Entombed is a Swedish death metal band which formed in 1987 under the name of Nihilist. Though Entombed began their career as an early pioneer of Scandinavian death metal, by the early 1990s their sound had broadened to include hardcore punk and other influences. This new style would eventually be described as death ‘n’ roll. Entombed have been influenced by bands such as Autopsy, Slayer, Kiss, The Misfits, Motörhead and Discharge.

Entombed’s debut album was Left Hand Path, a cult favorite that established the band as a popular swedish death metal band. The follow-up, Clandestine, was just as popular These first two albums were unique in that they featured what was sometimes referred to as an “electric saw” guitar sound. On their debut, Left Hand Path, it was created using an Ibanez X-series with EMG pickups detuned five half notes, the Boss Heavy Metal distortion pedal cranked to 10 on al dials and a Peavey Studio Pro 40 amplifier. For the follow up, Clandestine similar equipment was used but with a Peavey Bandit instead

After the Gods of Grind tour, Entombed began changing their sound into a mix of hard rock and death metal often referred to as death ‘n’ roll Although this may have turned off many fans, it established their mainstream and critical reputation. Wolverine Blues and Hollowman are widely considered classics of early 1990s death metal, but were followed by problems with various record companies.
1998’s Same Difference was the band’s first album without drummer and founding member Nicke Andersson, who left the band to concentrate on The Hellacopters. He was replaced by Peter Stjärnvind. In 1999, Entombed released Uprising, which was very much a continuation of the death ‘n’ roll sound The follow-up, Morning Star returned to the style of Hollowman and Wolverine Blues

In 2001, the band worked with performance artists Carina Reich and Bogdan Szyberb, and the Royal Swedish Ballet. The production was entitled Unreal Estate.
They have since released 2003’s album Inferno, a continuation of the death ‘n’ roll style that has become their trademark sound. 2006 saw the release of the When in Sodom EP on June 6 (or 06/06/06). The full-length Serpent Saints – The Ten Amendments followed on July 9th, 2007. This album is the group’s first release with drummer Olle Dahlstedt (of Alpha Safari and ex-Misery Loves Co.), who replaced Stjärnvind in 2006, and also the first without Uffe Cederlund who is now part of Disfear.

Band members

• Lars Göran Petrov – vocals
• Nico Elgstrand – bass
• Alex Hellid – guitar
• Olle Dahlstedt – drums

Former members

• Jörgen Sandström – bass
• Zoran – bass
• Lars Rosenberg – bass
• Nicke Andersson – drums, vocals, bass
• Peter Stjärnvind – drums
• Johnny Dordevic – vocals
• David Blomqvist – guitars
• Uffe Cederlund – guitar, bass

Session and guest members

• Fred Estby – vocals
• Matti Kärki – vocals
• Orvar Säfström – vocals
• Peder Carlsson – harmonica
• Anders Lindström – guitar
• Daniel Rey – vocals
• Östen Warnebring – vocals


Studio albums

• Left Hand Path (1990)
• Clandestine (1991)
• Wolverine Blues (1993)
• DCLXVI: To Ride Shoot Straight and Speak the Truth (1997)
• Same Difference (1999)
• Uprising (2000)
• Morning Star (2002)
• Inferno (2003)
• Serpent Saints – The Ten Amendments (2007)

Live albums

• Monkey Puss (Live in London) (1999)
• Unreal Estate (2004)

Demos, compilations and EPs

• But Life Goes On (demo) (1989)
• Crawl (EP) (1990)
• Stranger Aeons (EP) (1991)
• Hollowman (EP) (1993)
• Out of Hand (EP) (1993)
• Full of Hell (promo) (1993)
• Contempt (promo) (1993)
• Night of the Vampire (split 7″ w/ The New Bomb Turks) (1995)
• Entombed (compilation) (1997)
• Wreckage (EP) (1997)
• Black Juju (EP) (1998)
• Sons of Satan Praise the Lord (compilation) (2002)
• When in Sodom (EP) (2006) Official Page


Posted: 2009/11/17 in Death Metal

>• Genre(s): Death Metal
• Representative Albums: “Soul Survivor,” “False,” “Erase”
• Representative Songs: “The Glorious Dead,” “Freedom,” “Dragon Man”


The leaders of Holland’s death metal scene, Gorefest built a substantial underground following over the course of the ’90s with a powerful, groove-based sound that often paralleled similar innovations by bands like Entombed and Sepultura. Founded by vocalist/bassist Jan-Chris De Koeyer and guitarist Frank Harthoorn in 1989, Gorefest issued their debut album Mindloss in 1991, with a drummer and second guitarist known only as Mark and Alex, respectively. Dissatisfied with the band’s level of musicianship, De Koeyer and Harthoorn jettisoned the two and hired on drummer Ed Warby and guitarist Boudewijn Bonebakker. The move paid immediate dividends; signing to Nuclear Blast in 1992, the band issued False, not only a more consistent and technically accomplished record, but also a much more original one. While False slipped through the cracks in some death metal quarters, enough underground aficionados heaped praise on the record to build Gorefest’s cult following. Next up was the live album The Eindhoven Insanity, recorded at the Dynamo metal festival in Holland; the proper follow-up, Erase, was released in 1994 and found the band moving subtly toward more traditional forms of metal, partly through its sure sense of groove. That approach crystallized on 1996’s Soul Survivor, which combined death metal with the elegant power and accessibility of ’70s British metal. With that, Gorefest’s association with Nuclear Blast ended, and the band wound up on the German imprint Steamhammer/SPV. Chapter 13 was issued in Europe in 1998, and it continued Gorefest’s interest in classic rock; however, just before the end of the year, the band announced its breakup. Chapter 13 was finally released in the U.S. in 2000.


Gorefest was a Dutch band from the Zeeland region of the Netherlands which was founded in 1989 as a death metal outfit by De Koeyer, Harthoorn, van Schaik and Hoogendoorn.

Within two months of existence these four death metal enthusiasts recorded a death metal demo featuring one of the most low-pitched and cavernous voices ever heard in death metal. A Dutch independent label, Foundation 2000, signed them for one album. Before recording Mindloss they first released another demo in 1990, which also received positive feedback. As a supporting act for Carcass they travelled through Belgium and the Netherlands impressing the metal-scene also on stage. Colin Richardson was the producer of 1991’s album Mindloss.

Before they toured with Revenant from New Jersey, guitarist Alex van Schaik was replaced by Boudewijn Bonebakker. Not satisfied with Foundation 2000, Gorefest signed a contract in 1992 with Nuclear Blast. Hoogendoorn was dismissed because of lack of interest and drummer Ed Warby (who came from melodic band called Elegy) took his place just two weeks before recording sessions of False which was also produced by Colin Richardson. The album sold relatively well in the Netherlands and Germany for a band of the genre. In the months to come they completed a European tour with Deicide and Atrocity, playing in Germany, Sweden, Spain, Czechoslovakia and England. In 1993 Gorefest played a show at the Dynamo Open Air at Eindhoven. The Eindhoven Insanity was released soon thereafter, featuring this performance. Also in 1993, they toured America as a supporting act for metal band Death.
Erase was recorded in 1994 with producer Pete Coleman and revealed a more mature Gorefest with a different attitude towards traditional death metal. As a result, public opinion towards Gorefest was divided. Erase ,however, proved to be a success as international sales went well through 1994 and 1995. The band reached a broader set of countries in the following tours.

Rupture with the past

In the Fear EP and Freedom single, Gorefest revealed new tracks showing that they wanted to drastically expand upon the musical changes they had applied in Erase (De Koeijer declared in some interviews that he even had thoughts about taking singing lessons). This would be confirmed in 1996 with a rockish Soul Survivor – a total departure from their roots even showing traces of pop – and a very similar Chapter 13 in 1998.
They even abandoned their heavy image and the graphics for these works were less extreme. Inexorably, fans turned their backs on them and the sales of the album was a relative fiasco, thus they split up in 1998.


Gorefest reformed in 2004 and played various summer festivals in 2005. The band then came out with a new album, “La Muerte”. They produced the album themselves, with mixing by Tue Madsen from Antfarm Studios.
“Rise To Ruin” is the next chapter in the history of Gorefest. “Rise To Ruin” was released on August 3 in Europe and August 28 in the US. The American release was licensed to Candlelight Records.
On the 15th of June 2009 the band announced that they were calling it quits again, stating that they felt they had gone as far with the band as they could.


Studio Albums

• Mindloss (1991)
• False (1992)
• Erase (1994)
• Soul Survivor (1996)
• Chapter 13 (1998)
• La Muerte (2005)
• Rise to Ruin (2007)

Eps And Singles

• Live Misery (1992)
• Fear (1994)
• Freedom (1996)


• To Hell And Back A Goreography (2005)

Live Albums

• The Eindhoven Insanity (1994)


• Jan Chris de Koeijer – vocals, bass guitar
• Frank Harthoorn – guitar
• Boudewijn Bonebakker – guitar
• Ed Warby – drums

Former members

• Marc Hoogendoorn – drums
• Alex van Schaik – guitar Official Page


Posted: 2009/11/16 in Death Metal

>• Genre(s): Experimental metal
• Representative Albums: “Destroy Erase Improve,” “Nothing,” “Chaosphere”
• Representative Songs: “Future Breed Machine,” “Vanished,” “Sickening”


Offering a complex form of metal that combined the sweeping adverturism of math rock, the oddball tempos of experimental jazz, and the stunning brutality of thrash metal, Meshuggah raised the bar for metal bands everywhere upon their debut. The roots of Swedish metal band Meshuggah were planted in 1985; originally named Metallien, the founding line-up included frontman Roger Olofsson, guitarists Peder Gustafsson and Fredrik Tordendahl, bassist Janne Wiklund and drummer Örjan Lundmark. After a few demos made the rounds, Metallien broke up and Fredrik Thordendal continued the band with a different lineup and a different name. The original lineup of Meshuggah also included vocalist Jens Kidman, guitarist Johan Sjögren, bassist Jörgen Lindmark and drummer Per Sjögren. A handful of demos followed before Kidman left the group to form a new outfit, Calipash, with guitarist Torbjörn Granström, bassist Peter Nordin and drummer Niclas Lundgren; the surviving members of Meshuggah soon disbanded, and when Granström left Calipash, Thordendal assumed guitar duties in the new band. Kidman and Thordendal then agreed to reclaim the Meshuggah name, and in 1989 the band released a three-song mini-LP; after signing to Nuclear Blast (and swapping Lundgren for new drummer Tomas Haake), they issued the full-length Contradictions Collapse in 1991. Second guitarist Mårten Hagström was recruited for 1993’s None EP, followed two years later by Selfcaged; in the interim, however, the group was forced to maintain a low profile — first Thordendal severed a finger in a carpentry accident, then Haake injured his hand in a mysterious grinder mishap. Destroy Erase Improve appeared later in 1995, and won over critics with their heady tempos and abstract approach. In 1997 Meshuggah returned with The True Human Design EP; that same year, Thordendal’s side project, Special Defects, released their LP Sol Niger Within. Meshuggah reunited for 1998’s Chaosphere, a thunderous album that was unbearably dense in its songwriting and scope. Several successful tours followed, and their incredible abilities were starting to get recognized by mainstream music magazines, especially those dedicated to particular instruments. Once they left the touring circuit, the band was surprisingly quiet, cooking up new material for a few years while on a rarities disc marked the time. But in the summer of 2002, they released Nothing, a masterpiece of atmosphere that added psychedelic touches to their ever tightening sound. Unique in almost every way, the album didn’t make much of a mainstream impact but had metal fans banging their heads to 7/4 tempos and esoteric lyrics. A good word from Ozzy Osbourne’s son Jack scored the band a spot on the annual Ozzfest tour, where they flourished on the second stage, often stealing the show with their original and savage math metal. After a brief break, Meshuggah released the I EP in 2004. Composed of a single epic track, the complex arrangements of I were just a hint of what was to follow. Their next album, Catch Thirty-Three, was released the following year and proved to be their most ambitious to date. 2006 saw the remastered re-release of Nothing with a bonus DVD. The same year, Meshuggah returned to the studio to record the album that would become obZen, their sixth, which was released in March of 2008 in advance of a world tour that began in the United States as the opening slot for Ministry’s final jaunt before moving to Europe, Asia, and Australia as a headliner.


Meshuggah is a Swedish five-piece experimental metal band formed in 1987. Meshuggah’s line-up has primarily consisted of founding members vocalist Jens Kidman and lead guitarist Fredrik Thordendal, drummer Tomas Haake, who joined in 1990, and rhythm guitarist Mårten Hagström, who joined in 1993. The band has gone through a number of bassists, but the position has been held by Dick Lövgren since 2004.
Meshuggah first attracted international attention with the 1995 release Destroy Erase Improve for its fusion of fast-tempo death metal, thrash metal and progressive metal. Since its 2002 album Nothing, Meshuggah has used eight-string guitars and downtuned, groovy riffs. Meshuggah has become known for innovative musical style, complex, polyrhythmic song structures and precise musicianship. It was labeled as one of the ten most important hard and heavy bands by Rolling Stone and as the most important band in metal by Alternative Press. Meshuggah has found little mainstream success as yet, but is a significant act in extreme underground music.
Nothing and the albums that followed have all charted on the Billboard 200. In 2006 and 2009, the band was nominated for a Swedish Grammy Award. Meshuggah’s most commercially successful album, 2008’s obZen, peaked at No. 59 and sold 11,400 copies in the first week and 50,000 copies six months after its release in the United States. Since its formation, Meshuggah has released six studio albums, five EPs and eight music videos. The band has performed in various international festivals, including Ozzfest and Download, and embarked on the obZen world tour in 2008.

Formation and Contradictions Collapse (1987–1994)

In 1985, guitarist Fredrik Thordendal formed a band in Umeå a college town in northern Sweden with a population of 105,000. The band, originally named Metallien, recorded a number of demo tapes, after which it disbanded. Thordendal, however, continued playing under a different name with new band members.

Meshuggah was formed in 1987 by vocalist and guitarist Jens Kidman, and took the name Meshuggah from the Yiddish word for “crazy”. The band recorded several demos before Kidman left, which prompted the remaining members to disband. Kidman then formed a new band, Calipash, with guitarist Thordendal, bassist Peter Nordin and drummer Niclas Lundgren. Kidman, who also played guitar, and Thordendal decided to restore the name Meshuggah for the new band.

In 1989, Meshuggah released the self-titled, three-song EP Meshuggah, which is commonly known as Psykisk Testbild (a title that could be translated as “Psychological Test-Picture”).This 12″ (30 cm) vinyl EP had only 1,000 copies released, sold by local record store Garageland. The EP’s back cover features the band members with cheese doodles on their faces.

After replacing drummer Niclas Lundgren with Tomas Haake in 1990, Meshuggah signed a contract with German heavy metal record label Nuclear Blast and recorded its debut full-length album, Contradictions Collapse. The LP, originally entitled (All this because of) Greed, was released in 1991. The album received positive reviews, but was not a commercial success. Soon after, Kidman decided to concentrate on vocals, and rhythm guitarist Mårten Hagström, who had already played in a band with Haake when they were in the sixth grade, was recruited. The new lineup recorded the EP None at Tonteknik Recordings in Umeå in 1994 for release later that year. A Japanese version was also released, including lyrics printed in Japanese.

During this period, Thordendal, who was working as a carpenter, severed the tip of his left middle finger, while Haake injured his hand in a grinder accident. As a result, the band was unable to perform for several months. Thordendal’s fingertip was later reattached, and he went on to make a full recovery. The Selfcaged EP was recorded in April and May 1994, but its release was delayed to later in 1995 due to the accidents.

Destroy Erase Improve (1995–1997)

In January 1995, Meshuggah undertook a short European tour organized by its record label Nuclear Blast. Afterwards, the band returned to the studio to record the album Destroy Erase Improve at Soundfront Studios in Uppsala, with Daniel Bergstrand as a producer. Shortly thereafter, the band went on a European tour supporting Machine Head for two months. During the tour, Nordin became ill and experienced difficulties with his inner ear balance. Due to the resulting chronic dizziness and vertigo, Nordin was forced to leave the tour and travel to Sweden. Machine Head’s bassist Adam Duce offered to cover his absence; however, Meshuggah decided to continue as a four-piece. Sometimes Thordendal played bass, while other times the band performed with two guitars. In this lineup, Hagström would use a pitch shifter to play his guitar at an octave lower than usual.

Destroy Erase Improve was released in July 1995, with positive response from critics for the “heady tempos and abstract approach”. Kidman described the album cover: “The title fits the pictures we cut out and stole from reference books in the library.”
In mid-1995, Meshuggah had a short tour with Swedish band Clawfinger in Scandinavia and Germany. Nordin had to leave the band because of his sickness and was replaced by bassist Gustaf Hielm during the tour. In late 1995, Meshuggah went on a month-long tour with Hypocrisy.

During 1996 and 1997, Thordendal worked on his solo album Sol Niger Within, which was released in March 1997 in Scandinavia and in April in Japan. He also hosted Mats/Morgan Band’s debut. In 1997, Meshuggah recorded an unreleased demo, toured occasionally, and played a few concerts in its hometown. In May, Meshuggah moved to Stockholm to be closer to its management and the record industry in general.
The EP The True Human Design was recorded and released in late 1997. It contained one new song entitled “Sane”, and one live and two alternate versions of Destroy Erase Improve’s opening track “Future Breed Machine”. Thordendal’s solo album Sol Niger Within was simultaneously released in the United States, and Meshuggah started to plan its next album at the end of the year.

Chaosphere and Nothing (1998–2002)

Hielm officially joined the band in January 1998 after more than two years as a session member. Nuclear Blast re-released Contradictions Collapse with the addition of songs from the None EP. In May 1998, the title of the next album, Chaosphere, was reported and recording began. Immediately after recording the album, Meshuggah went on a short US tour, and the album was released later in November 1998. Shortly after the release, Meshuggah toured Scandinavia with Entombed.

In early 1999, Meshuggah joined Slayer on its U.S. tour After the new album and the live performances, Meshuggah was beginning to be recognized by mainstream music, guitar, drum and metal magazines. In mid-1999, Meshuggah performed in several Swedish concerts. The band started to write some new material but reported in mid-2000 that “songwriting isn’t that dramatic, but we’re getting there slowly”. While fans were waiting for the next album, a collection of demos (from the Psykisk Testbild EP), remixes and unreleased songs from the Chaosphere sessions were released as the Rare Trax album. Hielm left the band in July 2001 for unclear reasons. Meshuggah joined Tool on a lengthy tour, playing for more than 100,000 people total.

In March 2002, Meshuggah recorded three-track demos with programmed drums in its home studio, which were based on Haake’s sample Drumkit from Hell. The upcoming album was recorded in five to six weeks in May and was produced by the band at Dug-Out Studios in Uppsala and at its home studio in Stockholm. The last-minute decision to join 2002’s Ozzfest tour forced the band to mix the album in two days and master it in one Meshuggah immediately went on another US tour after finishing the recording.

The album Nothing was released in August 2002, selling 6,525 copies during its first week in the US and reaching No. 165 on the Billboard 200. With this album, Meshuggah became the first band in the history of Nuclear Blast Records to crack the Billboard 200 and also became the first band signed to Nuclear Blast to be reviewed in Rolling Stone magazine. Meshuggah’s previous two releases, 1998’s Chaosphere and 1995’s Destroy Erase Improve, have sold 38,773 and 30,712 copies to that date, respectively. The CD booklet of Nothing has no liner notes, lyrics, or credits, only a hint of one word: ingenting, which is Swedish for nothing. All of this information is available on the CD-ROM. At the end of 2002, the band went on another US tour with Tool and a headlining tour of its own.

I and Catch Thirtythree (2003–2006)

In 2003, Hagström hinted at the direction of the band’s next album by saying,
“There’s only one thing I really feel that is important. We’ve never measured our success in terms of sales, because we’re quite an extreme band. It’s more that people understand where we’re coming from. I get more out of a fan coming up and saying that we’ve totally changed their way of looking on metal music, than having like 200 kids buy it. I mean, it would be nice for the money, but that’s not why we’re in it. So what I’d like to see is that we keep progressing. Keeping the core of what Meshuggah has always been, but exploring the bar, so to speak. Destroy Erase Improve was like exploring the dynamics of the band, Chaosphere was exploring the aggressiveness, the all-out side, and Nothing is more of a sinister, dark, pretty slow album, actually. So honestly, now I don’t know where we’re going. It might be a mix of all of them.

In February 2004, bassist Dick Lövgren joined Meshuggah. The band then recorded and released the I EP, which contains a single, 21-minute track, released on Fractured Transmitter Records. Meshuggah spent about six months in total on recording the EP. Catch Thirtythree, the only album on which programmed drums have been used, was released the following year in May 2005.Seven thousand copies of Catch Thirtythree were sold the first week, and it debuted at No. 170 on the Billboard 200 chart in June 2005. The video for the track “Shed” was released in June, and the previous album Nothing sold approximately 80,000 copies in the United States to that date, according to Nielsen SoundScan. Catch Thirtythree earned the band a Swedish Grammy nomination.

In December 2005, 10 years after inking its first record deal with the publishing company Warner/Chappell Music Scandinavia, Meshuggah extended its cooperation with the company. In November 2005, Haake said in an interview that the band was not content with the productions of Chaosphere and Nothing, because, being on tour, they had little time to devote to them.

obZen (2007–present)

Meshuggah returned to the studio to record obZen, which was released in March 2008.[1] The band spent almost a year on the album, its longest recording session yet. A significant portion of the year was spent learning to perform the songs they wrote; the recording itself took six months. obZen reached No. 59 on the Billboard 200 chart, selling 11,400 U.S. copies in its first week of release and 50,000 copies after six months. With obZen, Meshuggah received more media attention and attracted new fans. The release was followed by a world tour, which started in the U.S. and proceeded to Europe, Asia and Australia. In May 2008, Meshuggah published a music video for the song “Bleed”, which was produced by Ian McFarland and was written, directed and edited by Mike Pecci and Ian McFarland. Killswitch Productions said: “It’s extremely cool to work with a band who is willing to allow the music and imagery to speak for itself and who does not insist on themselves being the prominent focus of the video.” In January 2009, the album was nominated for Swedish Grammy Award In February 2009, Haake announced that the band was planning a concert DVD and a studio album. In April, Meshuggah was forced to cancel its Scandinavian shows in early 2009, due to Haake’s herniated disc in his lower back, which was causing problems with his right foot when playing. Haake later underwent a surgery and recovered for European summer festivals. In October, the release date of the concert DVD was set to be released on the February 5, 2010 in Europe and February, 9 in the U.S.

Musical style

Genre and typical traits

When describing Meshuggah’s experimentation, stylistic variation and changes during its career, journalists have categorized its sound within several musical subgenres. Heavy metal subgenres avant-garde metal or experimental metal are umbrella terms that enable description of the career of the band in general. Extreme metal crosses both thrash metal (or post-thrash metal) and death metal (or technical death metal), which are at root of the sound of Meshuggah’s music. The band is often labelled as math metal (for using elements of math rock) and progressive metal. The music of the band has also been described as grindcore, a fusion of extreme metal and hardcore punk. Meshuggah also incorporates elements of experimental jazz. Rockdetector uses the term hi-tech metal to describe their style. In its review of Nothing, Allmusic describes Meshuggah as “masterminds of cosmic calculus metal—call it Einstein metal if you want”. Meshuggah creates a recognizable sonic imprint and distinct style
Trademarks and characteristics that define Meshuggah’s sound and complex songwriting include polyrhythmic structure, odd riff cycles, complex “rotating” time signatures, rhythmic syncopation, rapid key and tempo changes and neo-jazz chromatics. Hagström notes that “it doesn’t really matter if something is hard to play or not. The thing is, what does it do to your mind when you listen to it? Where does it take you?” A trademark of Thordendal is free jazz-like soloing and lead guitar. He is also known for the usage of a “breath controller” device. Haake is known for his precise cross-rhythm drumming with “jazzlike cadence”.The vocal style of Jens Kidman varies between hardcore-style shouts and “robotic” death metal vocals.

In a typical polyrhythm by Meshuggah, the guitars might play in odd meters such as 5/16 or 17/16, while drums play in normal 4/4. An example of Haake’s dual rhythms is a 4/4 and 23/16 rhythm. He keeps the hi-hat and ride cymbal in simple 4/4 time but uses the snare and double bass drums for 23/16 rhythm. On “Rational Gaze” (from Nothing), Haake plays simple 4/4 time, hitting the snare on each third beat, for 16 bars. At the same time, the guitars and bass are playing the same quarter notes, albeit in a different time signature, and eventually both sides meet up again at the 64th beat. Hagström notes about the polyrhythms, “We’ve never really been into the odd time signatures we get accused of
using. Everything we do is based around a 4/4 core. It’s just that we arrange parts differently around that center to make it seem like something else is going on.”
Early work, Destroy Erase Improve and Chaosphere

The early work of Meshuggah, influenced mainly by Metallica, is “simpler and more straightforward than their more recent material, but some of their more progressive elements are present in the form of time-changes and polyrhythmics, and Fredrik Thordendal’s lead playing stands out”. According to Allmusic, the debut album is a relatively immature, but original, release. Double bass drums and “angular” riffing also defined the early work of Meshuggah.

With the groundbreaking Destroy Erase Improve, Meshuggah showed accurate fusion of death metal, thrash metal, progressive metal and technical polyrhythmic math metal. Allmusic describes the style as “weaving hardcore-style shouts amongst deceptively (and deviously) simple staccato guitar riffs and insanely precise drumming—often with all three components acting in different time signatures”. Thordendal adds the melodic element with his typical lead guitar and uses his “breath controller” device most famously on the opening track “Future Breed Machine”

Chaosphere incorporates typically fast,still tempo changing death metal. Allmusic compares the genre also with grindcore fathers Napalm Death. Rockdetector states: “Whilst fans reveled in the maze like meanderings, critics struggled to dissect and analyze, hailing Haake’s unconventional use of dual 4/4 and 23/16 rhythm, Kidman’s mechanical staccato bark and Thordendal’s liberal usage of avant-garde Jazz

Nothing, I and Catch Thirtythree

On Nothing, Meshuggah abandons the fast tempos of Chaosphere and concentrates on slow tempos, tuned down, low, drawn-out notes and deep grooves. The album was intended to be recorded using custom-made Nevborn eight-string guitars, but the prototypes were faulty so Thordendal and Hagström used detuned Ibanez seven-stringers instead. This technique, which involved keeping the instruments untuned during the sessions, created additional problems. When Ibanez provided Meshuggah with special eight-string guitars with two extra-low strings that worked properly after the initial release, the band re-recorded the guitar parts for Nothing and re-released it in 2006. Hagström notes that this allowed the band to go lower sonically and to attain bass sounds on guitars.

Catch Thirtythree is one 47-minute song divided into 13 sections.It is more mid-tempo guitar riff based, and a more straightforward and experimental full-length album than Chaosphere or Nothing. Nick Terry of Decibel Magazine describes the album as a four-movement symphony. Some songs still use Meshuggah’s “familiar template combining harsh vocals and nightmarish melodies over coarse, mechanically advancing, oddball tempos”, while others explore ambient sounds and quieter dynamics. The first part of Catch Thirtythree centers around two simple riffs. In the song “In Death – Is Death”, the band uses a combination of noise and silence, which is in contrast with the atypical melodies on “Dehumanization”. On “Mind’s Mirrors”, Meshuggah used electronics, programming and “robotic voices”. “Shed” incorporates tribal percussion and whispered vocals.


With 2008’s obZen, Meshuggah moved away from the experimentation of 2002’s Nothing and 2005’s Catch Thirtythree to return to the musical style of its previous albums, such as Contradictions Collapse, Destroy Erase Improve and Chaosphere, while still maintaining its focus on musical and technical innovation. The album loses some of the mathematical-like rhythmal quick changes of past releases and the melodic orchestration of Catch Thirty-Threeand uses “angular” riffs, mid-tempo and usual 4/4 beat.[ The album is generally considered to be a culmination of the band’s previous work. Meshuggah decided to self-produce because it sought to retain artistic control over the recording and mixing process.

For obZen, Haake returned to the drum kit and impressed music journalists with his performance on the song “Bleed”. In an interview for, Haake stated, “[‘Bleed’] was a big effort for me to learn, I had to find a totally new approach to playing the double bass drums to be able to do that stuff. I had never really done anything like that before like the fast bursts that go all the way through the song basically. So I actually spent as much time practicing that track alone as I did with all of the other tracks combined. It’s kind of a big feat to change your approach like that and I’m glad we were able to nail it for the album. For a while though we didn’t even know if it was going to make it to the album.” Hagström also stated, “obZen is one of the most highly technical offerings the band has ever put to tape”. Revolver magazine confirms this statement: “At first listen, obZen seems less challenging to the listener than some of the band’s other records, and most of the songs flow smoothly from one syncopated passage to the next. However, careful examination reveals that the material is some of the group’s most complicated”

Legacy and reception

Meshuggah has become known for its technical prowess and innovative musical style that evolves between each release and pushes heavy metal into new territory. Hagström comments: “We try never to repeat ourselves.” Rockdetector stated about Destroy Erase Improve: “[T]he band…stripped Metal down to the bare essentials before completely rebuilding it in a totally abstract form”. Official Meshuggah biography criticizes Chaosphere with: “Some fans felt that Meshuggah had left their dynamic and progressive elements behind; while others thought they were only progressing naturally and focusing on their original sound”and Nothing with: “[I]t displayed a very mature and convincing Meshuggah, now focusing on groove and sound…Meshuggah once again divided their fans into the ‘ecstatic’ and the ‘slightly disappointed'”. The music’s complexity combined with aggression can make the music sound cacophonous;

the polyrhythms can make it sound like band members are playing different songs simultaneously. “Devin Townsend” Quotes them as “The best Fu**ing metal band on the planet, Devin is known for his projects and talents as a guitarist. Rolling Stone labeled Meshuggah as “one of the ten most important hard and heavy bands”, and the Alternative Press named it the “most important band in metal.” Meshuggah has been described as highly skilled, virtuoso or genius-bordering musicians with “incredible abilities recognized by mainstream music magazines, especially those dedicated to particular instruments”. Tom Service from stated about Meshuggah: “There’s as much rhythmic obsessiveness and intricacy in the relentless polyrhythms of Swedish metal maestros Meshuggah as there is in Reich or Ligeti – with the difference that Meshuggah use the supreme technical sophistication and overpowering volume of their 5-in-the-time-of-4 patterns to serve rather different expressive ends: Terminal Illusions as opposed to Different Trains”. In 2007, Meshuggah earned an in-depth analysis by the academic journal Music Theory Spectrum. Meshuggah has found little mainstream success but is a significant act in extreme underground music and an influence for many modern metal bands.

Songwriting, recording and lyrics

Meshuggah’s music is written by Thordendal, Hagström and Haake with assistance from Kidman. During songwriting, Hagström programs the drums, and records the guitar and bass via computer. He presents his idea to the other members as a finished work. Meshuggah typically adheres to Hagström’s general idea and rarely changes the song afterwards. Hagström explains that each member has an idea of what the others are doing conceptually, and nobody thinks exclusively in terms of a particular instrument. Kidman does not play guitar in the band anymore, but he is involved in writing riffs.

Except for when Hagström needs a soloist, he and Thordendal rarely record together. Both play guitar and bass while composing. Haake says about his songwriting, “Sometimes I’ll sample guitar parts, cut them up, pitch-shift and tweak them until I’ve built the riffs I want, just for demoing purposes. But most of the time I’ll just present the drums, and explain my ideas for the rest of the song, sing some riffs.”

Approximately once a year, Haake writes most of the band’s lyrics, with the exception of finished tracks. His lyrical inspirations are derived from books and films. Although Meshuggah does not record concept albums, the band prefers strong conceptual underpinnings in the background.

Often esoteric and conceptual, Meshuggah’s lyrics explore philosophic themes such as existentialism. Allmusic describes Destroy Erase Improve’s lyrical focus as “the integration of machines with organisms as humanity’s next logical evolutionary step PopMatters’ review of Nothing singles out the lyrics from “Rational Gaze”: “Our light-induced image of truth—filtered blank of its substance / As our eyes won’t adhere to intuitive lines / Everything examined. Separated, one thing at a time / The harder we stare the more complete the disintegration.” Haake explains that Catch Thirtythree’s cover, title and lyrics deal with “the paradoxes /negations /contradictions of life and death (as we see it in our finest moments of unrestrained metaphoric interpretation)”.

The main theme of obZen is “human evil”, according to Haake. The title is a play on the words “obscene” and “Zen”; in addition, “ob” means “anti” in Latin. Therefore, the title suggests that the human species has found harmony and balance in warfare and bloodshed. Revolver Magazine finds the lyrics of the title track from obZen representative of the entire album: “Salvation found in vomit and blood/Where depravation, lies, corruption/War and pain is god.” However, Haake claims, “We don’t dwell on hate and bad feelings as people. But with these songs, I think we really wanted to paint a picture lyrically that might be seen as a cautionary tale. We’re going, ‘Heads up. Here’s what some of the parts of being human are about, and this is what we can be at our worst.’ So it’s more about being aware of negative feelings than actually living them all the time


Current members

• Jens Kidman – lead vocals (1987–present), rhythm guitar (1987–1991)
• Fredrik Thordendal – lead guitar, backing vocals (1987–present)
• Tomas Haake – drums, spoken word (1990–present)
• Mårten Hagström – rhythm guitar, backing vocals (1993–present)
• Dick Lövgren – bass guitar (2004–present)

Former members

• Niklas Lundgren – drums (1987–1990)
• Peter Nordin – bass guitar (1987–1995)
• Gustaf Hielm – bass guitar (1995–2001)


Main article: Meshuggah discography

• Contradictions Collapse (1991)
• Destroy Erase Improve (1995)
• Chaosphere (1998)
• Nothing (2002)
• Catch Thirtythree (2005)
• obZen (2008) Official Page


Posted: 2009/11/09 in Death Metal

>• Formed: 1996, Bayonne, France
• Genre(s): Death Metal
• Representative Albums: “The Way of All Flesh,” “From Mars to Sirius,” “Terra Incognita”


Taking their name from the original Japanese pronunciation of Godzilla, French heavy metal quartet Gojira have risen from utmost obscurity during the first half of their career to widespread global recognition in the second, including regular mention amongst the genre’s leading new millennium upstarts. Originating from the town of Bayonne, on France’s southernmost Atlantic Ocean coastline, Gojira recorded the first in a sequence of almost yearly demos in 1996, gradually honing their sound until the year 2000, when bandmembers Joe Duplantier (vocals/guitar), Christian Andreu (guitar), Jean-Michel Labadie (bass), and Mario Duplantier (drums), felt ready to record their first album, Terra Incognita, relying solely on their own devices. And despite its independent status, the aptly named LP made significant waves with its unpredictable blend of death, thrash, groove, progressive, and math metal — recalling bands as diverse as Pantera, Meshuggah, Suffocation and Sepultura. Still, it took several years (and a curious detour into soundtrack music on 2003’s Maciste All Inferno EP) for the metal world to catch on, and even Gojira’s second album, The Link, had to be released through tiny independent, Boycott Records, before being reissued by Listenable. (This was followed by 2004’s The Link Alive live album and DVD, whose audio component was limited to 500 copies — a parting shot for Boycott.) Now finally gathering steam, Gojira saw their third full-length, From Mars to Sirius, enter the French charts at number 44, while collecting the most enthusiastic reviews of their career — a level of acclaim that led, in turn, to numerous key European festival appearances, and lengthy European and North American tours with bands like Obituary, Hatesphere, Children of Bodom, and Machine Head, to name but a few. By the end of the album’s long promotional cycle, Gojira were widely acknowledged as a force to be reckoned with, on-stage and in the studio, and their much anticipated fourth LP, The Way of All Flesh (released stateside by Prosthetic Records), made a strong showing by debuting at number 138 on the American charts, in October 2008.


Gojira is a French progressive metal band formed in 1996 in Bayonne, France. The band was known as Godzilla until 2001. The band is composed of Joe Duplantier on vocals and guitar, his brother Mario Duplantier on drums, Christian Andreu on guitar and Jean-Michel Labadie on bass. Since its formation, Gojira has had no changes in lineup (particularly rare for an underground band), and has released four studio albums, one live album, one single, and one DVD. The band is known for their environment-related lyrics.

Early years and Terra Incognita (1996−2002)

Gojira was formed in 1996 in Ondres, France, a village close to Bayonne, by brothers Joe Duplantier (guitar, vocals) and drummer Mario Duplantier, guitarist Christian Andreu, and bassist Jean-Michel Labadie. The band started touring and recording under the name Godzilla and released their demos Victim, Possessed, and Saturate in 1996, 1997, and 1999, respectively. After touring, supporting bands such as Cannibal Corpse, Edge of Sanity, Impaled Nazarene and supporting Immortal in September 1999, legal problems forced Godzilla to change their name. They changed their name to Gojira, the rōmaji spelling of the fictional monster Godzilla. Their last demo, Wisdom Comes, and their debut album Terra Incognita were released under the new name in 2000 and 2001, respectively.

The Link and From Mars to Sirius (2003−2007)

The band released their second studio album in 2003, The Link (reissued in 2007 with remastered audio and new booklet artwork). After the success of the first two albums and their live performances they made a DVD in Bordeaux produced by Gabriel Editions. Since May 19, 2004, The Link Alive has been on sale in France. In 2005, Gojira decided to sign with French-based Listenable Records to help give them exposure outside of France with the album From Mars to Sirius.

Gojira was featured on Children of Bodom’s US tour in late 2006, joining Amon Amarth and Sanctity as the openers. Furthermore, Gojira supported Trivium on the UK dates of their European tour in 2007 with Sanctity and Annihilator. Later they supported Lamb of God on their 2007 American tour along with Trivium and Machine Head. In late 2007 they took part in the Radio Rebellion Tour, featuring co-headliners Behemoth and Job for a Cowboy, as well as Beneath the Massacre.
Cavalera Conspiracy and The Way of All Flesh (2008−present)

Joe Duplantier was invited by the founders of influential Brazilian band Sepultura, brothers Max and Igor Cavalera, to join their new band Cavalera Conspiracy as a bassist. The album Inflikted was released in March 2008 and a tour followed in mid-2008.

Gojira’s latest album, The Way of All Flesh, was released on October 13 in Europe via Listenable Records and October 14 in North America through Prosthetic Records in 2008. On July 25th, 2008, the band announced the track listing and revealed the final cover art for the record. Joe Duplantier told Revolver magazine, “I would say that it’s the logical next album. It’s more intense, more brutal, and more melodic at the same time — it’s more everything! I’m very happy with the new songs and the recording is very good. I think it was a good thing for us to come to the States to work with Logan on the drum tracking because it really brought something — it’s more tight, it’s more powerful. I’m very positive about the new production, and even the writing is more straight to the point, more one tempo. We still have a lot of double bass, very fast, and at the same time there are melodies.” Joe Duplantier also stated about the album: “This record is a lot darker — like, a lot darker, I would say. The music is darker and more violent.” The album will be “more intense, more brutal, and more melodic” than its predecessor. “That’s the theme — it’s about death itself,” he explained. “It’s also about the immortality of the soul. That’s the main subject for us”.

Randy Blythe from the American band Lamb of God appeared as a guest vocalist on the song “Adoration for None.”

The album took four months to write and record, and three months to mix.
On March 17th, 2009, the band’s first North American headlining tour was announced. The tour will kick off on May 1st in Springfield, Virginia and wrap up on May 28th in Dallas, Texas. Support for the much-anticipated headlining tour will be provided by The Chariot and Car Bomb.

According to a recent Metallica blog on myspace Gojira will be accompanying them on their tour September 14-October 18. Lamb of God will also serve as an opening act. On Metallica’s off days, Gojira will headline shows with Burst and Zoroaster supporting.

Musical style and lyrical themes

Gojira’s sound is not easily classifiable as they blend several styles. Genres that have been associated with Gojira are death metal (technical death metal in particular), thrash metal, progressive metal and groove metal. They are often compared to bands like Meshuggah, Mastodon, Sepultura, Neurosis and Morbid Angel. Gojira have been influenced by heavy metal artists such as Death, Morbid Angel, Meshuggah, Metallica, Tool, and Neurosis.

Gojira plays a technical and rhythmic style of heavy metal with precision drumming, unusual rhythm patterns, start-and-stop riffs, and breakdowns. Gojira has also been known to incorporate textured atmospheric elements and instrumental songs into their music. Gojira songs have progressive and uncommon song structures and are devoid of standard verse, chorus, verse song writing. The vocal style is somewhere between a hardcore punk shout and a death growl. Often at times, death metal growls and clean vocals are mixed to create an aggressive but melodic effect.

The members of the band were raised in Bayonne, a city on the south west coast of France (French Basque Country). The surrounding scenic countryside and rugged coastline inspired Gojira’s interest in nature and the earth. Gojira uses its lyrics to spread its spiritual beliefs and concerns for the environment.

Band members

• Joe Duplantier − vocals, guitar (1996–present)
• Mario Duplantier − drums (1996–present)
• Christian Andreu − guitar (1996–present)
• Jean-Michel Labadie − bass guitar (2000–present)

Former member

• Alexandre Cornillon – bass guitar (1996-2000)


Studio albums

• 2001: Terra Incognita
• 2003: The Link
• 2005: From Mars to Sirius
• 2008: The Way of All Flesh


• 1996: Victim
• 1997: Possessed
• 1999: Saturate
• 2000: Wisdom Comes

Live albums

• 2004: The Link Alive (CD/DVD)

Official page:
Myspace :

>Bloodthirst (1999)

Posted: 2009/10/27 in Death Metal


1. Pounded Into Dust
2. Dead Human Collection
3. Unleashing The Bloodthirsty
4. The Spine Splitter
5. Ecstacy In Decay
6. Raped By The Beast
7. Coffinfeeder
8. Hacksaw Decapitation
9. Blowtorch Slaughter
10. Sickening Metamorphosis
11. Condemned To Agony

1. Pounded Into Dust

[Music and Lyrics by A. Webster]

Forces of hate meet
Gather for the siege
Encircling their foe
The raid begins
Their revenge is sought
Through violence, smashing, killing, stabbing, pounding
Iron weapons clash
Evil warriors strike
Hammers cracking skulls
Axes chopping heads
Their revenge is now
Through violence, crushing, maiming, hacking, pounding

Blood soaks the ground
In their own, they will drown
Surrounded by disgust
Pounded into dust

Battle rages on
Bleeding wounded scream
Clubs shatter bones
Swords sever limbs
Their blind rage compells
Their frenzy, bloodlust, madness, burning, hatred
Berzerkers overwhelm
Defenders run in fear
No prisoners today
The end is near
Their blind age endless
No mercy lay waste, wipe out, kill them, kill them

Their struggle to defend
The attack will never end
Surrounded by disgust
Pounded into dust

The captured will be crucified as a warning to the rest
When the killing is completed the city will be burned
Their way of life will be destroyed, no trace of them remains

They lay waste
Victory for their hatred, fury, raging, pounding


Blood soaks the ground
In their own, they will drown
Surrounded by disgust
Pounded into dust

2. Dead Human Collection

[Music – P. O’Brien, Lyrics – P.Mazurkiewicz]

I cannot scream, my mouth is wired shut
I cannot see, my eyes are filled with blood
I must die while suffering
Pawn of torturous punishment
Losing all reason to live
Cherishing this painful death
To become part of the

Dead human collection
Dead human collection

I cannot hear with punctured ear drums
I can barely breathe,
My ribs are crushed
I will die while suffering
Maimed, repulsive menagerie
Collection for the insane
Closer to death I become

I want to be one with the dead
Collection of dead humans, dead
I want to be one with the dead
Collection of dead humans, dead
I want to be one of them

Compilation obscene
An assembely for psychotic malefaction
Virulent anarchy
The final member of this vile congreagation
I cannot scream, my mouth is wired rot
I cannot see, my eyes turned into dust
I died into the…

Dead human collection
Dead human
Dead human
Dead human collection

3. Unleashing The Bloodthirsty

[Music and Lyrics – A. Webster]

Spirits await rebirth
From their sleep
They will soon awake
Restless dead
Catching the wiff of hate
Blood they anticipate
They will soon drink
Subconscious attraction
On their graves
Blood will now spill
Ancient bones
Reform in grounds below
Born, as the blood will flow
Killing is all they know

They live, they thirst

Pieces become a whole
For their strength
Blood is absorbed
Aeons of building rage
Death an immortal cage
Now they are freed
Livid beasts
Rising now for revenge
From the past
Hate comes alive
Restruct evil ones
The demons will come
Cruelity has just begun

They live, they thirst
Blood, blood

First one that they find
Attack the mortal
Claws tear at his face
Pull the flesh from bone
Decapitate the man
They hold his head aloft
Headless body slumps
The blood is gushing out
Screaming victims fall
Repulsive beasts attack
Gore pours from the torso
Hellish creatures stab
Organs, grisly trophies
Rewards for their rage
Blood drips from their jaws
They disembowel the corpse
Kill with speed
Victims bleed
Wretched souls
Headless on poles
Savage thirst
Vesseles burst
Torn apart
Eat the heart
Vengeance taking form
Endless hatred for the living
Plunderng the world
Paroxysm of the damned
Rapture of their rage
Euphoria from butchery
A dark world will eclipse all life
Barbaric ways forever reign

[solos- Owen, O’Brien, Owen, O’Brien]

They live, they thirst
Blood, blood

4. The Spine Splitter

[Music – J. Owen, Lyrics – P.Mazurkiewicz]

Fragmentizing, disunite the backbone from the skeleton
Chop the bodies, specialized in customized
Hatchet wielding, never ending thought of splitered vertebrae
Violent insurgency
Squalid dependancy, ivory interspersion, solace
Riving the arteries, splenetic complacency, somber
Irascible, aggressive ripping head to crotch, life relieving
Propensity, consuming of the spinal cord, dead not living
Animus from perpetual authority, contumacious
Bone displacement surgery
Stagnant, pools of entrails, permeates wretched odors, depraved
Corpses cloven spineless, ultimate pancrea ablate
Violent insurgency, pernicious way of life
Bone displacement surgery, division with an axe

[solo – Owen, O’Brien, Owen, O’Brien]

Chop the bodies
Hatchet wielding
The spine splitter

Stagnant, pools of entrails, permeates wretched odors, depraved
Corpses cloven spineless, ultimate pancrea ablate

Chop the bodies
Hatchet wielding
The spine splitting will never end

5. Ecstacy In Decay

[Music – P. O’Brien, Lyrics – P.Mazurkiewicz]

Immence oceans of gore, rivers of pus, mountains of bones
Rapture, fester in filth, abnormal wealth, immenced in a world of decadence
Ecstacy in decy, engrossed in deterioration
Penchant for extreme ordure
Pervading of vicera
Rejoice in gristly disgust
Exorbiant reality
One thousand years of compiled waste, frenzy in muck intoxicates
Ecstacy in decay, engrossed in deterioration
Penchant for extreme ordure
Pervading of vicera
Rejoice in gristly disgust
Exuberant castigation
Wading in bile, soaking in guts, ancient inards

Immence oceans of gore, rivers of pus, mountains of bones
Rapture, fester in filth, abnormal wealth immenced in a world of decadence
Mind altered, eternally fetid cadaverous empire
Squelched domain
Swamped ruins, dismal necrotic incarnate metropolis
Lost dwelling
Exorbiant reality
Obfuscated ossuary
One thousand years of compiled waste, frenzy in muck intoxicates

6. Raped By The Beast

[Music – J. Owen, Lyrics – P.Mazurkiewicz]

Black forest of evil, a demons possession
A beast in the wild with nocturnal dementia
Unearthly revival of clandestine extinction
Reborn creature, malicious being
Resurgance of a grusome species
With carnal obsession, it lusts copulation
Scent of fresh human blood invades its dominion
Surrounded in darkness, she enters a realm of hell
Infernal quest from a savage of death
Brutal attack, the innocent are unprotected
Hellish fury, deviance provides conception
Vicicious onslaught, its primal lust instinctual
Macabe fuckfest, inside her cunt, the brute’s erection

Raped by the beast
Anamialistic, pure hideous appearance
Repulsive re-existence, bearer of morbidity

[Solo – Owen]

Ritual, habitual
Black forest of evil, a demons possession
A beast in the wild with nocturnal dementia
Scent of fresh human blood invades its dominion
Surrounded in darkness, she enters a realm of hell
Raped by the beast

7. Coffinfeeder

[Music and Lyrics – A. Webster]

Exhume the rotted casket
Robbing graves
But not for wealth
Cloaked in moldy rags
Hunting dead
Decrepit things from hell
Invade the sacred tombs
Search for food
Embalmed five days before
Ancient body stealers
Raid again
A fresh corpse beyond the door
From the ground they rise
Plundering the grave
When the faithful die
Its them, not God they meet
Consume the rotted body
And unt more
Craving maws ooze blood
Gray skinned coffinfeeders
Seekig carrion
Eat the old ones last
Fiendish ghouls are chewing
Scraps of meat
Found inside the tomb
Roy veiled messengers
From beyond, bring the parish doom

From the ground they rise
Plundering the grave
When the faithful die
Its them, not God they meet

Unholy creatures swarming the coffin
Fighting for mouthfuls of flesh
Invading the tombs of the recently buried, to feast
Starvation of aeons sated tonight
Foraging ghouls consume
Ancient hunger awakened again

[Solo – Owen]

Strengthened by blood the undead attack
Septic beats from the grave
If living approach they are devoured too
Fragments of corpses nourish the pack
Fresh entrails they crave
The coffin is torn open, the zombies start to consume

From the ground they rise
Plundering the grave
When the faithful die
Its them, not God they meet

8. Hacksaw Decapitation

[Music – P. O’Brien, Lyrics – P. Mazurkiewicz]

Memory of the insane
Of killing in so man ways, homicidal
Seeking redemption through rage
With hacksaws I decapitated them all
Blood covers the groud, my feet are saturated
Rotting flesh scattered around, I feel no remorse
I don’t remember my name
Or when blood of the dead flowed so relentlessly
Extracting the brains from the skulls
My anger evolves with the more heads I deform
Sawing the neck I am engulfed in fantasy
Chew the esophagus, cannibal delicacy
Utterly execerbated, forver deleterious
Slicing through skin, sundered larynx, veins spraying blood
Tattered windpipe, facial carvings, another head to abhore
Beheading sustains my desire
Enhancing my primitive mind
Annihilation without repreving

[Solo – O’Brien]

Memory of the insane
Of killing in so man ways, homicidal
Seeking redemption through rage
With hacksaws I decapitated them at will
Predacious, violent killing spree
Abolished, putrescent cadavers
Butchered in excrement, sordid obscurity
Feverish hunger to inhale the stench of their death

9. Blowtorch Slaughter

[Music – A. Webster, Lyrics – P. Mazurkiewicz]

Scourged through searing
Melt together
Fire torture brings me intense pain
Pre-destined to incinerate
The flesh is dripping from my face
My limbs and torso mold as one as my blood is boiling

Blowtorch slaughter
Bodily capitiluation
Blowtorch slaughter
Blowtorch slaughter
Merciless disintegration

Pre-destined to incinerate
The flesh is dripping from my face
My limbs and torso mold as one as my blood is boiling
Conflagration through my veins
Desensitized, charring skin, burnt within,
branded soul, torrid cruelity
Dwidle away, glowing heat to mutilate
Head set ablaze, consumed in flames
I burn to the ground
Blowtorch slaughter

[Solo – Owen, O’Brien]

Pre-destined to incinerate
The flesh is dripping from my face
My limbs and torso mold as one as my blood is boiling
Blowtorch slaughter
Merciless disintegration
Fire torture takes me to my end

10. Sickening Metamorphosis

[Music and Lyrics by A. Webster]

Change has begun
After the shape
Freakish events
Led to this change
Convert the man
From the norm

Surreal figure
Misshapen thoughts
Sickening metamorphosis

Twisting flesh
Ghastly face
Pain distress
Mind displace
Twisted flesh transforming appearnce of the
Ghastly face of the one that it chose
Pain distress of contortions and straining
Mind displaced as the spirit arose
Hideous one
Adapting fast
New skin grows out
Old skin peels off
Extra limbs sprout

Surreal figure
Misshapen thoughts
Sickening metamorphosis

Shifting bones
Gnarled limbs
Gruesome change
Features grim
Shifting bonestrans forming the framework and the
Gnarled limbs are beginning to grow
Gruesome change to repellent appearance
Features grim in compelete overthrow
Tentacles extending from the face
Eyes are growing on his hands and back
Spikes and fangs cover his body
Skeleton re-shapes, bons pop and crack

[Solo – O’Brien]

A Monstrous thing he has become
Murderous compulsions flood his mind
Reconstruction reaches completion
He’s no longer part of mankind

Surreal figure
Misshapen thoughts
Sickening metamorphosis

Twisting flesh
Ghastly face
Pain distress
Mind displace
Twisted flesh transforming appearance of the
Ghastly face of the one that it chose
Pain distress of contortions and straining
Mind displaced as the spirit arose

11. Condemned To Agony

[Music and Lyrics by A. Webster]

Butchering the helpless
Was his way of life
Uncontrolled rage
Internal strife
The pain he dealt out was never repaid
Retribution was sought by the ones he had slain
Infernal phantasm
Condemned to agony
No escape after death
Condemned to agony
Heads of his victims
Have returned to haunt
Dripping with blood
Rotted and gaunt
The pain is reflected to him after death
With the victis of his knife, he is now beset
Reliving every crime
Condemned to agony
No escape from their hate
Condemned to agony, agony
He thought he got away
His crimes unpunished he took them to the grave
Their tortured souls are waiting
Now they make him pay
Exact their revenge using methods that he used
To make him understand them

To chop him up
Is their revenge
With no remorse
They slash him, disfigure

Undying hate
His torment endless
He’s torn apart and they cut the pieces smaller
The knife he used to maim
Is turned against him and now they will do the same
Dissect the man of evil
His fingers are cut off
And forced into his mouth so that he cannot scream
And in pain they revel

[Solo – Owen]

To chop him up
Is their revenge
With no remorse
They slash him, disfigure

Their creation
The man who killed them is now scattered
In the abyss

[Solo – O’Brien]

Infernal phantasm
Condemned to agony
No escape after death
Condemned to agony

[Solo – O’Brien]