Memento Mori

The highly anticipated 2nd full-length by this Russian band. Hailing from Nizhny Novgorod and formed in February 2013, Wombripper have ever since leaned towards the Swedish school of Death Metal with raw, crunchy buzzsaw guitars and straightforward compositions. Highly influenced by Grave, Entombed and Dismember, their first demo, "Morbid Aberrations", was recorded and released in 2014, and the band shared the stage with some of the genre's milestones such as Necrophobic, Nominon and Fleshcrawl, and also newer underground acts such as Undergang, Nocturnal Witch, etc. After several lineup changes, the 4-track EP "Infected Tomb" was recorded and self-released by the band in 2017. That same year, Wombripper recorded their debut album, "From the Depths of Flesh", which was released in 2018 by different labels, such as Redefining Darkness Records (U.S.A.) and Grotesque Sounds (Russia). "From the Depths of Flesh" gained them lots of positive feedback from the media and old school Death Metal fans alike, as the album displayed some top-notch Swedeath, an aural massacre featuring plenty of catchy and morbid melodies, blazing solos and blasting devastation. Now scaled back to a 3-piece, Wombripper put the power in power-trio with their crushing second album, "Macabre Melodies". Ever aptly titled, "Macabre Melodies" is both macabre to the max as well as melodic -in a most macabre manner! Wombripper are nothing if not maniacs devoted to pure 90's Death Metal, and that vintage aspect rings proud and true here, adding to (but never subtracting from) the iron-clad foundation laid down by Dismember back then, keeping the guitars gutsfucking and incredibly tuneful, with hummable tunes you simply won't be able to get out of your head. But lest anyone linger under the assumption that "melodic" equates to some weakening aspect, fuck right off here: Wombripper are not named that for no reason, and "Macabre Melodies" encapsulates and then eclipses their no-less-righteous prior recordings, making for the band's apex to date and all without sacrificing an ounce of crush or credibility. Graced with stark and haunting cover art courtesy of MFA XII, "Macabre Melodies" is the sweet song you'll hear... before you die! Fans of classic Entombed, Fleshcrawl, Entrails, Nirvana 2002, Dismember, Grave, Demonical, Carnage and God Macabre: Wombripper is your favorite new old-style band!

The long-awaited 2nd full-length by this U.S. band. Since the dawn of the Paleolithic age, mankind has recorded spectacular scenes of death, whether in scenes of cannibal feasts crudely etched on cave walls, massacres immortalized in glyphs adorning monuments of the ancient kingdoms, or in chance recordings of grisly accidents, compiled and sold on home video to those with a thirst for that which is denied to them by our "civilized" society. Spawned in the contaminated sewers of Santa Cruz, CA in 2013, Dipygus began as a 4-piece mutation performing rudimentary styles of Death Metal, a sonic evolution of the tradition continued from the time of Cro-Magnons. A 2015 demo recording, the earliest surviving documentation of the band, reveled in unexplained and bizarre events, including peculiar methods of whale carcass disposal and otherworldly monsters from on and off the silver-screen. After a lineup change in 2016, Dipygus recorded the "Long Pig Feast" EP, which featured terrifying rites, ritual mutilations, and ominous sightings of a Mesozoic relic in the heart of the Congo. The debut album, "Deathooze", slowly de-composed in the murky shallows of powerplant runoff in the Monterey Bay, ultimately being recorded in 2018. Though quickly banned in over 16 countries, the debut album -exhibited in North America by Expansion Abyss and Caligari Records- attracted immediate attention among slime fetishists and similarly deviant circles. Placed appropriately alongside the Fiji mermaids and other grotesque artefacts found in curio cabinets of modern-day antiquarians, "Deathooze" continued the band's exploration of inexplicable incidents, mysterious beasts and shocking carnage, including genuine audio recovered from a fatal attack at the hands of an ape gone mad! Following their debut album, Dipygus was conjoined with an additional member, and began a new exploration in search of secrets hidden in the jungles of lost continents, where life is cheap. After successful initiation into the shadowy world of black-market cuisine, an agreement was reached with Memento Mori for the release of Dipygus' 2nd full-length, "Bushmeat". Showcasing more exotic and repulsive themes of the supernatural and taboo, "Bushmeat" presents an uncensored and unrelenting spectacle, with each element of the previous work irresponsibly taken to a further extreme. A prime cut of raw and grueling terror, it is fit for consumption by headhunters, body-snatchers, toad-venom junkies, cargo cultists, aquatic ape theorists, disaster tourists, carriers of tropical disease, voodoo practitioners and orgone revivalists only. All others have been warned... Memento Mori recommends Dipygus for fans of Autopsy, Impetigo, Undergang, Asphyx and Nuclear Death. But why not enter the jungle in search of "Bushmeat" and find out for yourself? The album was tracked at Darker Corners Studios, the new venture of Matt Harvey (Exhumed, Pounder, Gruesome) and Alejandro Corredor (Nausea, Pounder), ensuring utterly crushing sound. And with mixing by Earhammer Studios and mastering by Mammoth Sound, not to mention form-fitting cover art courtesy of Doug Camp, Dipygus' "Bushmeat" is guaranteed to be a grisly good time!

The highly anticipated 2nd full-length by this Canadian band. With beginnings in 2011, Altered Dead are a two-piece contributing to the tradition of early Death Metal with a simple and therefore genuine approach: no frills, filthy and raw, proudly influenced by the likes of Autopsy, Death Breath, Grave, Asphyx, Darkthrone, Unleashed, Exhumed and Carnage. Released in 2016, Altered Dead's debut album, simply self-titled, was a cornucopia of darkness and utter death. Twisted and gross riffs ripped alongside warring treads of percussion, with the accompaniment of scalded and bellowing dual vocals mangling the listener's mind. Similarly, lyrical themes revolved around physical and mental warfare, mutating human nature and imminent conflict and collapse. Currently residing in Esquimalt, on southern Vancouver Island, the duo have had numerous live performances and subsequently started work on their long-awaited 2nd full-length. At last it arrives, bearing the ever-fitting title "Returned to Life". Be forewarned, though, as there's no "Life Metal" here: only utter death, once again, and darkness eternal, of course. The strikingly sick and psychedelic cover art by Matt Sidney should give some clues as to where Altered Dead are coming from here: tendrils of slimy and viscous riffage rising from the muck to ensnare martial mid-tempo gallops and frequent detours into doomed-out despair. The sum effect is infinitely headbanging as it is scabrously sewer-dredging, but rest assured that Altered Dead place a premium on stridently classic songwriting as their aforementioned forebears did at the dawn of the 90's: hooks, line and sinking... into the primordial abyss! Thus, "Returned to Life" is both backwards-looking as well as inward-looking -as in inward into that very same abyss. And, it also bears re-emphasizing that Altered Dead are a duo; however, for only two people, the band create a world-eating sound far larger than their pared-down membership may convey on paper. Credit due to Loïc Fontaine for his clear and crushing mastering job at Krucyator Studio, France. Closing with a faithful cover of Celtic Frost's "Into the Crypts of Rays", Altered Dead deliver traditional Death Metal perfection with "Returned to Life".

The crushing debut full-length by this German Death Metal warmachine that was previously only available on vinyl/tape/digital since its April 2019 release. Minenfeld started as a rehearsal room project in summer 2016. They never intended to record anything, particularly no album. Actually they started the band as a drunken idea, born from their passion for old school Death Metal (most notably Bolt Thrower, Hellhammer and Beherit), but immediately got to play a show, so they were pretty much forced to write a few songs. Afterwards, they decided to record those songs, which led to the split w/ Kriegszittern. After another split w/ Cryptic Brood and the release of a promo tape in between splits, they decided to record their debut album, "The Great Adventure", at the Tonmeisterei Oldenburg studios in Autumn 2018, which was released by Fucking Kill Records (vinyl) and Lycanthropic Chants (tape). The band's topic of choice for the lyrics since day one has been WW1. The idea has always been to create music that captures this war in all its crudeness and primitivism, and sonically conjure up the mud, steel, blood and death in these battlefields. To achieve this, the music is heavy, rumbling, apocalyptic, grinding and thundering, accentuated by many original samples from those times: songs, speeches and excerpts from radio broadcasts, most especially taken from the U.S. propaganda after their entry into the war. The idea to contrast this propaganda of a "great adventure" that awaits on the other side of the world with the sad reality of war, where many searched for glory yet only found death, fascinated them and led them to write the album, and ultimately use that "great adventure" expression as the title. Utterly recommended for fans of Bolt Thrower, Asphyx, Hail Of Bullets, Just Before Dawn, Decaying, early Sacrilege...

The terrific 3rd full-length by this notable Melbourne based band. Borne out of the members desire to see a resurgence of a heavier, more dissonant style of Death Metal back in 2006, Ignivomous were among the first wave of bands to reignite interest in the genre in the first decade of this century. "Hieroglossia" preserves the core membership of the band present throughout its tenure -Sean Hinds (guitar), Chris Broadway (drums) and Jael Edwards (vocals)- and presents the recording debut of Lewis Fischer (Altars) on guitar and Chris Jordon (Inverloch, Eskhaton) on bass, both of whom have cemented the band's live assault for the previous few years in a campaign of high-profile shows in their native Australia. This lineup in its current form has secured and built upon the band's unrelentingly legacy, oozing raw, sinister Death Metal pushed a step further into the void, creating an album which synthesizes the bands influences with a definitive and individual vision. While projecting a murky and atmospheric take on the Death Metal template, the eight organic and primal songs on "Hieroglossia" avoid sacrificing the primacy of the riff for reverb-drenched formlessness, or songwriting in favour of dissonance for its own sake. Thematically, "Hieroglossia" continues Ignivomous' investigation into topics of philosophical pessimism, influenced by the works of Thomas Ligotti and E.M. Cioran, and gnostic concepts of the fallen and hostile nature of the material world, presented throughout with a literary sensibility which should be accustomed to those familiar with their previous output. Previously released on LP through Nuclear War Now! in November 2019, "Hieroglossia" was also released as a strictly limited tour edition digisleeve that was available for purchase during the band's European tour in late 2019. That digisleeve version did not include the official cover art and was roughly mastered. Memento Mori's version is presented in a regular jewel case, featuring the original cover art and layout by Stefan Thanneur, and a proper mastering work by James Plotkin (O.L.D., Khanate) at his own Plotkinworks Studio.

Official reissue of the debut full-length, originally released in 2019, by this U.S. band. Based in Minneapolis, Nothingness spew forth a brand of Death Metal that features crushing Death/Doom Metal sections that help build up a tense atmosphere, with a permanent focus on -and reverence to- the riff, and including a wide array of influences, such as Morbid Angel, Spectral Voice, Justin Broadrick, Rippikoulu, Incantation, Convulsing, Winterfylleth, Primitive Man, Suffocation and Profanatica. Aiming for universal heaviness filtered through the lens of Death Metal, and performed with respect for the history of extreme music, Nothingness are on a mission to forge a sound rooted in the ancient ways, yet also embracing more recent takes and experimentations; a sound that doesn't need to be defined by rigid genres, whose only goal is to be honest and heavy, and honestly just heavy. If anything, Nothingness is Death.