black / death / grind
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Let's wallow in a cesspool of musical filth for a while, a bit over twenty-four minutes to be exact. After all, the deep underground of the metal scene shows some obscure but mesmerizing acts, shrouded in a fog of mystery, blasphemy and misantropy. Here is where the dark heart of the world of metal beats, and bloody fast too.
French horde Cult Of The Horns open this split with an intro that sounds like an opera played on a walkman with flat batteries. Immediately after, they deliver their intense, punk-driven blackened metal with sheer ferocity. These songs are primitive, raw and extreme, a bit like the old Candlelight albums form the nineties. Cult Of The Horns don't care for elaborate song structures or soundscapes or atmospheric stuff. They just want to blast, which they do quite well.
Goatvermin doesn't even need an intro. They blast away immediately with their blackened grind version of Dismember. The sound of the guitars is quite similar but the music as a whole is chaotic, neurotic and vile, which is a compliment of course. For three torturing, ever changing songs, Goatvermin drowns the listener in something utterly twisted and downright vulgar, which also is a compliment. Believe me, this is quite a good representatation of our current society.
Anyway, if you're a sucker for the putrid underground stuff, you should get your hands on this album. It rarely gets more extreme than this.
Serge
French horde Cult Of The Horns open this split with an intro that sounds like an opera played on a walkman with flat batteries. Immediately after, they deliver their intense, punk-driven blackened metal with sheer ferocity. These songs are primitive, raw and extreme, a bit like the old Candlelight albums form the nineties. Cult Of The Horns don't care for elaborate song structures or soundscapes or atmospheric stuff. They just want to blast, which they do quite well.
Goatvermin doesn't even need an intro. They blast away immediately with their blackened grind version of Dismember. The sound of the guitars is quite similar but the music as a whole is chaotic, neurotic and vile, which is a compliment of course. For three torturing, ever changing songs, Goatvermin drowns the listener in something utterly twisted and downright vulgar, which also is a compliment. Believe me, this is quite a good representatation of our current society.
Anyway, if you're a sucker for the putrid underground stuff, you should get your hands on this album. It rarely gets more extreme than this.
Serge