When you consult certain underground horror circles, one film many have an appreciation for is Street Trash. The now cult classic penned by Roy Frumkes and directed by James M. Muro dropped towards the end of the eighties, and one quick look at it screams an obvious product of that era. It’s been thirty years and after happening upon this film on-line I was immediately interested in the core concept of a toxic brew being sold that can kill you. But was it worth it, or is this a bigger letdown than most will let you believe?
Doomsayer Records recently enlisted the help of two doom and drone titans of the underground for a brand new two-song digital split release that stretched well beyond the North American based label’s roots. Included is one new song a piece from the French three-piece Deveikuth and the Swedish four man outfit Pissboiler. Of the two, the former has been at it longer (though no concrete time period of activation is available) boasting a few smaller releases and a full-length in 2015, whereas the latter, having just formed in 2014, only had a single demo to their name to grab the attention of the folk at Doomsayer. But how does this forty-three minute long outing stack up, and is it one worth any actual merit?
Spanish death metallers Come Back From the Dead is a five-piece outfit that has literally done what their namesake suggests. Initially formed in 2008, the act disbanded a year later, only to be revived in 2012 by founding members Marcos (drums, ex-Cenotaph, ex-Asedio) and Hector (Nashgul). ex-Frustradiccion). Bassist Chinin rounded out the line-up, but was replaced by Bokluk‘s Iago in 2014. Ex-Cult of the Ancients guitarist Miguel and Extinction vocalist Paul also joined in 2013 to unleash the group’s debut demo. A year later the debut full-length The Coffin Earth’s Entrails was issued through BlackSeed Productions. Now, three years later, we are greeted with a brand new four song EP titled Caro Data Vermibus, which is being handled by Transcending Obscurity Records. But is this effort a powerful love letter to the golden days of death metal, or is it more of a thrash experience similar to their most recent offering?
Satyricon has become one of the most polarizing acts in the black metal world since dropping their initial approach for the black ‘n roll style we’ve come to expect as of late. You either embraced the new approach, or you scorned it while longing for a return to the early days. After a small stint on Nuclear Blast Records, and one effort through Roadrunner Records, we find the duo of Satyr and Frost signed with Napalm Records to unleash their ninth full-length effort Deep Calleth upon Deep. With a notable change in attitude in the air, and a cover art that seems out-of-place for the group, fans and desenters anxiously await this next coming. But will it be one to appease all walks of metaldom, or will it be yet another fluke to further segregate those loyal?
Originally known as The Badeda Ladies between 2011 and 2013, the three-piece psych/sludge/post-metal outfit Thera Roya have been hard at work in the studio as of late. Since the recent name change they have issued two EPs, participated on three splits, and unleashed their Stone & Skin full-length independently earlier this year. While sticking to a similar sound most of the time, each release tends to stand as it’s own experience. But does Masterful Universe, their latest effort, live up to those same expectations, or is it more of a rushed endeavor to wrap the year up with?
One of Austria’s most recognizable metal exports, Belphegor have returned to unleash their specific brand of hell with Totenritual. As it stands, Nuclear Blast Record has issued a few lyric videos for this release, all of which seem to showcase a slightly different, more calculated rendition of the act. With hints at leaving behind the madness of their most recent efforts in favor of a traditional black/death metal recording. But are these glimpses evidence of another shift in creativity, or will it be business as we have become accustomed to as of late?