Necros Christos - Doom of the Occult

Full Length, Sepulchral Voice Records
2011
Necros Christos is a name which is well revered amongst the appreciators of occult death metal art and they have struck again with their sophomore album entitled as “Doom of the Occult” after a long anticipation. Their debut venture “Triune Impurity Rites” had left plenty of fans including myself stunned with its densely atmospheric and ancient atmosphere. Such was the charm of the album, that I almost felt enraptured amidst a black mass procession, which had evilness emanating from all over.

This malignant ensemble originates from Germany and conjures an ominous amalgamation of ancient occultism and underground death/doom metal through their malignant epiphanies. The driving force behind this sinister temple is Mors Dalos Ra, whose enchanted preachings have left a staunch impression on myself. He is a learned man for sure, who has employed the theories of the Old Testament, ancient Egyptian miracles, Middle Eastern deities and an inspiration from the emanations of the Holy Qabalah, ancient mysteries of temples and tombs and much more.

As intriguing as it sounds, this wicked soul has left no stone unturned in structuring his musical elements at par with the intricate lyrical themes he has employed. “Doom of the Occult” is an implausible example of the above mentioned features possessed by Necros Christos and it’s a tad better offering than their elite debut. What makes it so special is the way the rituals have been structured this time. The musical theme has been emphasized on Mors’ ancient Middle Eastern/Asian influences and they have been very suavely executed.

There are a total of 23 ritual hymns which constitute this juggernaut and they are divided as 14 instrumental interludes and nine death metal rituals. These are artistically crafted as preludes for all the nine necromantic psalms. Overall, the interludes are also divided as eight temples which are cathedral-ish instrumentals which introduce the “gates” . The “gates” here are acoustic Middle Eastern folk instrumentals which are beautifully carved by Mors again. Together, they add a highly exotic and arcane element to the album and serve as splendid introductions to the tracks.

Necros Christos’ most noticeable quality is the uniqueness of their sound and it has been suavely exemplified on “Doom of the Occult”. The compositional prowess on the album is highly commendable and thoroughly enjoyable. There aren’t any crazy sweeps or twisted leads to be found here. Its all about pure occult art. What impresses me the most is flow of the riffs which are catchy, down tuned and aurally devastative. The leads and especially the arcane solos are also very well carved and they keep the ears buzzing and gasping for more. Impressively, each song possesses memorable passages which get stuck in the head very easily. The main focus here is to provide ample eargasms to the listener with a mind numbing juxtaposition of cryptic middle eastern harmonies with death metal. But it’s certainly not cheesy or very accessible for any casual listener. Its very powerful, yet subtle at times. Mors and the Evil N. have done a fabulous job on the strings here and their coalition is what makes this album so bestial and profound!

I know that I just can’t stop praising Mors’ efficiency as a musician and hence I would applaud him once again for spewing some of the most baleful vocals I have ever heard! He had left a staunch impact with his demonic vocals on “Triune Impurity Rites” and he did it yet again on “Doom of the Occult”. His vocals give an astute feeling of an ancient Mesopotamian demon, who gives out a loud roar to pronounce the end of divinity from the planet Earth. His earth-shattering and rattling guttural onslaught is more than just an added flavor of this brilliant album.

Raelin’s percussive assault also deserves a praise since he has delivered a worthy performance with his drum kit. Since it’s a mid paced, doomier death metal album, he didn’t have to execute any triggered double bass attack or 300+ bpm blast beats but boy, he still didn’t leave any stone unturned in striking gold! The snare tone on the album is crunchy and sounds apt in the mix because it suitably justifies the hammering guitar tone. My favorite would be the introduction of “Doom of Kali Ma” where he starts off the proceedings with a gnarly blast beat passage and ceases down to menacing double bass sections throughout the track.

The bass is definitely present on the album and it flows around smoothly with the guitar’s but there are no individual bass moments except for “Hathor of Dendera” and “Invoked from Carrion Slumber”. Nevertheless, I don’t think that bass solo’s were very much required on the album. Black Sheperd Ov Doom has done his job neatly and provided the perfect tone which was required to enhance the heaviness of “Doom of the Occult”.

Even though each death metal ritual on “DOTO” is so deftly etched, there are some special moments which are certainly the highlights of the album. The stand out track according to me is “Doom of Kali Ma – Pyramid of Shakti Love – Flame of Master Shiva” which is a diligent hymn to the magnificence of the mythical Hindu occult deities – Kali and Shiva. The exceptional element of this track is that a lot of the lyrical content constitutes of Hindi texts which have been growled to such perfection that I was bound with amazement. Being a Hindu myself, it was an astonishing quality and I was dazed with ecstasy after hearing this hymn along with its brilliant and perfect lyrics. I can easily say that this soundtrack could become an anthem for the purveyors of occult death metal. “Necromantique Nun”, “Succumbed to Sarkum Phagum”, “Invoked from Carrion Slumber” and “Descending into the Kinly Tomba” are my other picks from the album. The solo on “Descending…” might be yet another spectacular element on the album. Though there are a few good ones to be heard, the one on that song is particularly very well carved out. Great efforts by the guitar duo!

Overall, “Doom of the Occult” constitutes everything which a mystifyingly evil death metal album should possess. The song writing is deviously enthralling even though it’s mostly one dimensional. Almost all the tracks flow in a basic pattern which comprises of heavy palm muted riffs, mid paced to doomier sections, fitting double bass, cryptic leads and brilliant solos. But it still doesn’t add a monotone since all the tracks carry individuality. The album is absolutely devoid of any frills and wannabe complexities. It is death metal done in the right manner! Every moment on the album reeks of class and exoticism.

I can keep the band at par with Grave Miasma who also share a similar musical direction minus the middle eastern influences. Their mid-paced, doom-oriented death metal music and lyrical themes also reeks highly of occult themes and exotic atmospheres. They are both class acts and share individualistic and dedicated mindsets which are two precursors for any band to carve a niche in a vastly populated “scene”.

In today’s time’s where abominations such as plagiarism and staleness are ruining the beauty of the art of death metal, it’s great to have honest and inspiring acts like Necros Christos around which possesses an impeccable demeanor . “Doom of the Occult” clearly exhibits that they are a sheer apotheosis of scrupulousness and musical dexterity. So, show your utmost support to these Germans and enter the gates of their diabolic temple right now!

A necromantic doom awaits you, as you ascend the abyssal stairs of this temple…
9.5/10
Official Site - http://www.darknessdamnationdeath.com/

Mitochondrion - Parasignosis

Full Length, Profound Lore Records

2011 

A band name as unusual and seemingly bizarre as ‘Mitochondrion’ might seem a bit odd to a few, especially to those who aren’t aware of these bestial Canadians. But let me tell you that this album is definitely one of the most disgusting releases you can ever hear. Its SO disgustingly heavy and chaotic, that it can easily demolish an entire scene with its gargantuan demeanor.

It is a well known fact that Canada has always been a major contributor to the underground extreme metal scene and has constantly churned out a lot of fantastic and unique-sounding bands. If Blasphemy taught the world how to play militaristic and uncompromising ‘‘war’‘ metal, then Cryptopsy wrote a new chapter in the codex gigas of death metal, stating new norms of playing intricate and complex brutal death metal.

When it comes to Mitochondrion, it is not just another ‘‘addition’‘ to the the abyssic pits of Canada’s extreme metal dungeon, but it is an addition to the art of extreme metal itself. I wouldn’t have made this bold statement until and unless I seriously acknowledged this fact after a thorough analysis, composing of many attentive listens. This young band, which started back in 2003 started to make an impression in the Canadian underground, with the release of their demo ‘‘Through Cosmic Gaze’‘ in 2006. The highly technical and brooding dark undertones on that demo turned a lot of heads and this encouraged the band to write their first full-length – the mighty ‘‘Archaeaeon’‘.

This release saw the light of day in August, 2008 and left my jaw split wide open with disbelief. That was the first time when I got acquainted with the band’s music and it simply rendered me speechless. Such was the dexterity and musical brilliance on that album, that I had started hailing these young turks as the next big thing in the underground, with a good reason of course.

‘‘Archaeaeon’‘ had unleashed a platter of destructive riff orgies, coupled with an insanely low guttural vocal assault, intertwined with an equally insane and nefarious high-pitched shriek and stupendous drumming. It was an amazingly weird album, consisting of complex and unexpected time signatures, subtle atmospheric melodies and an intensely heavy and raw production. It was an independent release which was limited to 666 copies, reflecting a somewhat clichéd attempt at being kvlt but heck, the album got sold out in a limited time after its release.

After making quite a staunch impression with their kvlt strategies and gruesome sonic assaults with the first two releases, these occult worshipers are back with their latest magnum opus, cryptically entitled as ‘‘Parasignosis’‘. Clocking at almost one hour, this album has certainly taken Mitochondrion’s trademark sound to a newer realm altogether and ensured more worries for my ears and jaw. There are certain times where I am bound to say Fuck you Mitochondrion, I have to salvage my hearing ability! but then, I so love to get destroyed. Its dilemmasizing, but for the sweet bastard I am, I let Mitochondrion annihilate myself.

‘‘Parasignosis’‘ is an enigmatic voyage to the unknown realms of this world. It’s an esoteric collection of pestilential hymns which only assures of an impending apocalypse. What leaves me so astonished is the way in which just an usual concoction of two guitars, vocals and drums have been able to construct such a heaving mass of audio terror. It almost gives me a feeling which a band like Portal possesses, but this is just much more brutal and superior.

The instrumentation has been given a stellar importance on ‘‘Parasignosis’‘. Cacophonous and eerie riffage has been heavily emphasized and the subtle melodies of “Archaeaeon” are totally gone. Sharp and turbulent low-end tremolos, pinch harmonics, incessantly heavy palm muted riffs and militaristic percussion are the instrumental arsenal on the album. These sterile elements have been fused so grotesquely that it churns an unfathomably evil and bombastic sound.

The songs are usually over five minutes long, for the exception of the intros (Part I and II) and the interlude, and they consist of a plethora of riff orgies which are carved in a highly unorthodox manner. Such is the musical execution that it just doesn’t allow the listener to get a slightest idea of the upcoming signatures. These oddities have been beautifully put together to manifest a disharmonic and highly discordant maelstrom of abstract death metal. Tracks like ‘‘Tetravirulence (Pestilentiam Intus Vocamus, Voluntatem Absolvimus Part III)’‘, ‘‘Trials’‘, ‘‘Parasignosis’‘ and ‘‘Banishment’‘ are stellar examples of these innovative and shockingly unorthodox structures.

Mitochondrion have successfully been able to carve a niche in the underground death metal scenario with their brand of elite and experimental dark death metal, especially with “Parasignosis” and I can’t recommend this enough to the appreciators of bands like Portal and Impetuous Ritual. This release is a perfect example of how experimentation and technicality should be employed. The ardent followers of the abominable trend of fretboard wankery-induced ‘‘technical’‘ death should better be exposed to the ritual executions of “Parasignosis”. This is how it is done lads! Learn the art of splendorous death metal craftsmanship from the mighty Mitochondrion or else leave the hall NOW!

Now, since you have stopped reading this essay, then make a move and get this fucking release!


9.5/10
Official Facebook:
https://www.facebook.com/mitochondrion137

Gnaw Their Tongues - An Epiphanic Vomiting of Blood (2007)

Full-length, Burning World Records
December 15th, 2007

There was a time in my life when I was on the hunt for the most extreme music possible. Music that would make you want to rip your face apart with your bare hands. The music that would completely fuck you up mentally. More often than not, I found solace in many of Mories' various projects. Mories is an artist who produces the most fucked up, abrasive, terrifying music that I have had the pleasure of listening to, the best bands being 'Gnaw Their Tongues', 'Aderlating' and 'De Magia Veterum'. I stopped listening to this stuff some time back so as not to burn myself out, but decided to give this album a listen a day back. And I have to say, what I heard literally grabbed me by the balls and flung me across the room.

I heard the first track and was very impressed, but being the idiot that I am, I decided to perform the acid test, i.e listen to it while taking a walk at 3 in the morning on a pitch black, winter night. And the experience was simply tremendous. I will not describe the music much, because it is virtually impossible for me to do so. The moment I pressed Play, I was sucked into a vortex of an inhuman howling noise, distorted seismic drone, chilling keyboard noise and an almost random drum pattern. Various samples are used and these add to the coldness of the music. Most of the samples are from horror movies about serial killers calmly describing the death of a few innocent people. This when merged with the music makes radiates a disturbing, ghastly feeling that can not be expressed.

On to the whole listening experience. I have to say, this was perhaps the most intense and difficult listening experiences I have ever had. The moment I pressed Play, I was possessed by some force. Something terrifying and foul. It felt like something nameless and shapeless just rose from the darkness and was just waiting to envelope me. On to the second track, 'Teeth That Leer Like Open Graves' and possibly my favorite one, I felt like time had stopped still. I was being unknowingly dragged into a void where I couldn’t rise up from. The 'fear' gripped me and I just ran. What I ran from I do not know, but there was something menacing about the night. I could imagine the shadows shifting and a strong force appearing. A force filled with the stench of negativeness and death. You almost feel suffocated by it. It was at this moment that I turned back because I was too terrified to go any further. By the time I got home, I had not heard the last track yet, but I simply could not bring myself to listen to it. Drained of all energy, I just went back and switched the music off; and my mind suddenly went numb and blank. As if nothing had ever happened.

All I can say is, this music is not for everybody. In fact, I dont think it is for most people. This band blows away every other band who claim to be the 'sickest' and 'most vile'. Don't listen to it if you are hoping to listen to some instrumental 'proficiency'. This is more than that. This is far more terrifying than any horror movie. This is pure audio terror. Disturbing and devastating.

Abnormality - The Collective Calm in Mortal Oblivion (2010)

EP , October 2010

Self Released

Abnormality is  a death metal ensemble hailing from Marlborough, Massachusetts (USA) who have been kicking some serious ass ever since their inception in 2005 but are surprisingly underrated, even after exuding some ferocious talent through their sonic onslaughts. The band comprises of Mallika Sundramurthy who is perhaps one of the best female vocalists in death metal along with Josh Staples (Bass) who has also served time in Sexcrement, Incinerate, Neuraxis etc. Jay Blaisdell (Drums) from Goratory, Teratism and Compost Pile, Ben Durgin and Jeremy on Guitars who have also served time in Revengeance and Iranach respectively. 

So far the band has just two releases under their kitty, both being self released demos, but some high class gut wrenching death metal. Whilst their debut demo in 2007 was packed with some great moments and excellent musicianship, their latest offering ''The Collective Calm in Mortal Oblivion'' has taken the ferocity and tightness to a newer level. 

This self released mini album was unleashed during October, 2010 with a suave blue-greyish CD cover layout, the art of which was made by the band's vocalist Mallika herself. There are 3 songs on this CD and it kickstarts with the title track which begins it surge with a nicely faded in riff, which eventually paves way for a groove laden instrumental, with a little bass solo and then the vocals kick in to give you a thud in your face. Even before you could help yourself to get some reprieve from that mighty punch, an absolutely catchy and well laden chorus smacks your cranial tissues once again. The vocals here are pretty interestingly laden with a screamed segment for the chorus, until an abrupt growled section comes ahead to finish it in an ominous manner. 

This track is pretty much mid paced and groove induced with ample double bass sections and catchy rhythms. But this is just a prelude to the mayhem which the upcoming two tracks would relinquish. 

Mallika's tortured scream emanates just after the faded out outro of the opening song and smashes your eardrums with a plodding fury. After that there is absolutely no escape from the impending carnage of this furiously beautiful song, aptly as ''Hatred Relentless''. You could actually notice the amount of relentless hatred being rushed out from the ravishing riff frenzies which the song gushes out on your ears. The entire track is a deftly etched work which spews out  sublte melodic leads and a solo, nicely intervowen with carefully crafted chaotic riffs. Yet another impressive element of this album. 

The grand finale to this already excellent album, ''Zealotry'' is perhaps the best composition as far as cratfy musicianship is concerned. Its power packed with the exact formula which Abnormality have banked upon, which is a zealous blend of sublte melodies with dense power chords and down picked rhythms. The interesting and spontaneous flow of riffs and the time signatures just don't let the attention to draw anywhere else. I must add that its pretty appreciative of the band to employ musical complexity without the usage of the cliched sweep arpeggios and fretboard wankery, which a lot of bands and people consider ''technical'' for just no worthwile reason. I wouldn't say that Abnormality play ''technical'' or ''brutal'' death metal, which are just some bastardized tags. 

This band doesn't really require any such unscrupulous tag. They play uncompromising death metal which banks highly on deriving high quality death metal which doesn't shy off from employing the usage of subtle melodies, of course intervowen with a flurry of riffs and tight percussive demeanor. 

If you appreciate your death metal to be the way it has been mentioned above, then you should certainly check out this MCD. I wonder how are they even unsigned till this date. Any labels/promoters reading this review, please help this talented band to get their morbid visions on the underground death metal platter. I am sure that they are going to crush more skulls by their upcoming cacophonies!

Check out Abnormality on their Myspace to order this album

http://www.myspace.com/abnormality06

Abnormality on Youtube

http://www.youtube.com/user/abnormalityofficial/

Final Verdict - 3.5/5

Solstice(US) - Solstice

Full-length, Steamhammer
1992

In the genre of Old School Death/Thrash, ever since it's inception in the 80's, the most notoriously famous bands have delivered some promising music which have influenced scores of musicians and bands alike to continue the tradition and keep the flame burning and also fuel it into an inferno of sorts. Florida based four-piece entity Solstice did the same when they released their first full-length self-titled album in 1992. Album opener 'Transmogrified' starts off with a vicious attack and sets the ball rolling for the listener to soak up the madness to follow for the rest of the album. Guitarist/Vocalist Rob Barrett brings in a unique style of vocals employing brutal shouting along with handling lead guitars very well with some sick tremolo picking. Rhythm Guitarist Dennis Munoz joins in with his adroitly executed guitar interplay with solos that have a great 80's Metal vibe to them. The sharp, precise and well-written riffs are sure to linger in one's head for a long time. Bassist Mark Van Erp does his job well with the low-end duties to add some more meat on the bones and stays right on cue. Drummer Alex Marquez propels the intensity to higher levels with his highly intense, machine-gun fast staccato drumming. With copious amounts of double-bass and a few hard-hitting blastbeats thrown in for good measure, the entire listening experience becomes every air drummers' wet dream.

All songs have been written by Rob Barrett and Alex Marquez. The lyrics deal with Death, Suffering, Aberration and are similar in outburst to many other releases by bands of that era. A cover of Crossover Thrash band Carnivore's "S.M.D" includes backing vocals by James Murphy, Scott Burns and Tony Teegarden(ex-Cynic). James Murphy also lends his guitar talents on solos on the tracks "Cleansed of Impurity" and "Survival Reaction". The album's production is excellent owing to the expertise of the masterful Scott Burns (Atheist, Cancer, Cannibal Corpse, Obituary etc). All in all, A fantastic album and highly recommended to fans of Old School Death/Thrash who've missed out on this!

Weapon (Can) - From the Devil's Tomb

Full Length, Ajna/Agonia

November Ist, 2010

2010 has been quite a spectacular year for metal so far, albeit it had a pretty quiet start. But it was just a hideous deception. Just like the calm before a ravaging storm!
During early November, I was scrounging forums and other internet sources for some of the best releases, the underground has seen this year and came across the latest Weapon album. For a moment, I was in a state of daze and the first words which came out of my mouth were - HOLY COW! A NEW WEAPON ALBUM! Whilst I was blown away by the new releases of Bloody Sign, Kerasphorus and Grave Miasma, a new offering by Weapon seemed far more enticing than those ones and I had to immediately pounce upon it. My love for this Canadian horde dates back to a recent time when I discovered their EP called as ''Para Bhakti...Salvation'' while digging up some Canadian congregations. That 2 track feature was astoundingly rapturous and I became an instant fan of their abominable executions.

Weapon's history dates back to 2003 when the mysterious Vetis Monarch formed the unholy ensemble to loathe divinity and build an empire of darkness and occult. The band was originally rooted in Calgary but now they are based in Edmonton. An interesting story is that their demo and the first 7'' were recorded in Bangladesh. The EP ''Violated Hejab'' also had Kapalyq from the relatively unknown (But incredible) Bangladeshi band Barzakh (Now Orator) on bass. As intriguing as it sounds, Weapon were nowhere behind weaving an aural web of destructive symphonies with their inceptive releases. The next release ''Para Bhakti... Salvation'', which had introduced me to this band, was the perfect advancement of the band's sound. You could sense the careful craftsmanship in the way these impious artisans drafted their desirable ritual ceremonies. What intrigued me more were the lyrical themes the band had employed. They focus towards satanism but also towards the occult and mysticism. Tracks like ''Archana'' and ''Para Bhakti...Salvation'' are staunch examples of the band's lyrical prowess where they have profoundly incorporated sanskrit verses to depict their faith towards devil worship.

Just a year after ''Para Bhakti'' had ruptured the Canadian/Worldwide underground, Weapon were ready with their first full length album which was entitled as ''Drakonian Paradigm''. This album was released by the Ajna Offensive which was a change from their previous label Full Moon Productions. Actually, they have had 3 different record labels for their first 3 releases but now they hopefully seem stable with Ajna who also released their 2nd full length feature. Drakonian Paradigm clearly unleashed the band's maturity as extremely skillfull musicians, who were profoundly adept in carving a niche in the Canadian bestial black/death legion.
The album featured 7 tracks, which ran through 40 minutes. This was a tad different in terms of production and this change must have been initated to support the more dense atmosphere the songs possess.
Tons of cryptic melodic leads and usage of nefarious chants on certain songs was clearly a top notch move by Weapon. It was an effort to make the sound more darkened and occult than the previous rituals and they nearly succeeded in achieveing this goal.

Now, just a year later, Weapon were ready with yet another full length. Yeah, quite a roll for them as there were 3 releases in subsequent years. I was extremely ecstatic about hearing the album and had my popcorns and nachos ready to await for one hell of a deathly ride. The moment when the first track ''From the Devil's Tomb'' emanated from the speakers, I started popping in the corns in my mouth in a trance like state and had to choke as a subsequent result. I hadn't even got a chance to revive fully, when I was shook with the riff frenzies and blastorocity the song offered next. The eloquent rhythmic carnage continued in such a suave manner that I lost myself completely into the beauty of this sonic frenzy. The elegantly nefarious tremolo picked riff orgies and leads had left me spellbound and I was ready to face the rest of this mayhem. 

The immediate ritual, named as ''Vested in Surplice and Violet Stole'' was increasingly emphatic with its stupendous riff laden destruction. I couldn't believe the amount of eargasmic ecstacy, these two opening tracks had already provided me but the next track made me ejaculate! Furor Divinus was its name and had a splendid chorus where Vetis apparently praised the name of Shiva, (as far as I could decipher) the lord of destruction. The amount of profoundity the album already possessed, left me overjoyed and zealous about the complete venture. Vortex 11724 continued the trademark melodic execution as employed in Bested in Surplice and Violet Stole and the beautiful acoustic interlude ''Left Hand Path Yoga'' acted as a soothing balm amidst the entire fury. 

''The Inner Wolf'' began in a war like demeanor with its opening riff and background chants. The entire track was a captivating combination of abrupt quick paced blast rhythms and mid paced sections. And I only had one word in my mind after each passing song - wow! But the album's grandeur had no boundaries and I got this feeling immediately after the next song ''Sardonyx'' began with an elegant Tabla intro. Those opening riffs blended absolutely majestically with the short yet powerful intro and then the commotion broke through. Riffs, riffs and more riffs - there seemed no end to those and there were still 2 more songs left! 

Trishul was the second last song on the album and it was followed by the concluding track - ''Towards the Uncreated''. Seconds after the song was unleashed to my auditory senses, I got a faint idea that this might be the best on the whole album! 

If I had addressed Weapon as skillfull artisans in my statements above, I had done nothing wrong because this last track exemplifies it by every means possible. They could not have have a better and more hypnotic end to an already spectacular album as it consisted some of the best moments, congregated together as one final ceremonial execution. 

Talk about satisfaction and ''From the Devils Tomb'' would provide you ample of it. Its the musical equivalent of a perfect sexual experience which would give you some of the best orgasms your ears could ever get. 

Enter the Weapon's horde NOW!

http://www.weaponchakra.com/

http://www.myspace.com/theweaponchakra

Gig Review - Immolation North American Tour with Vader, Pathology, Abigail Williams and Lecherous Nocturne

First of all, I have to apologize for delaying this gig review for so long. But exams have meant a shortage of time to dedicate to anything other than education. But anyway, I had to write about this gig, which in my time as a metalhead, has been the best show I have ever attended.

First, I ll start off with an introduction. I moved to San Diego, California from India in august for further education. In june, I got to know of the North American tour headlined by Immolation. A further look at the rest of the lineup had me yelling out in joy. 5 great bands, all under one roof. Fairly well known bands such as Pathology, Abigail Williams and Lecherous Nocturne sharing stage with two legends – Vader and Immolation. I started listening to death metal because of Vader. So, I think its fair to say, I hold that band in the highest possible regard. Immolation are a band that have influenced me a great deal. They are more than just music for me. They have influenced and shaped my thoughts greatly and are quite possibly my favorite band in this form of music. It was a dream of mine to watch Immolation live one day, and I was finally getting my wish.

October 16th was the day I was waiting for. It seemed as if every day from june was excruciatingly long. Saving cash for the gig and merch was my utmost priority and I had to sacrifice going to a Brujeria show on October 13th to save money for this. Finally, the day arrived. I could not sleep at night. The gig was supposed to start by 6:30 or so, but I went off early and was there at the venue by 5. I wanted to buy a pass for the show and just wanted to go early hoping to catch the members from either of the bands. And yes. My perseverance was rewarded and I got to talk to both my idols, Ross Dolan and Bob Vigna of Immolation. I wont talk more about that here, because I could easily fill up 5 pages with it. But I have to say, it has been the best moment of the 22 years of my existence so far. Bought a t-shirt too. Saw a 'Close To the World Below' tee and jumped at it.

The show started with a local band, 'Beheading the king'. A death metal band from San Diego. They were very good. Played a 25 minute set and warmed the crowd up well. They were followed by Aenea, another local melodic death metal band from San Diego. They were releasing anew EP and played all the tracks of it. And I have to say, I was pleasantly surprised by them. Not being the greatest fan of this genre, I approached it with skepticism, but the band were very tight. I was not very impressed by the vocals, but every other aspect of the band was very impressive. Definitely a band to look forward to. Then came the big guns. Pathology backed out because they had some problems with their guitarist. The details are up on their myspace. That was disappointing. I love that band and they were one of the bands I was looking forward to. Anyway, Lecherous Nocturne were up next; and did they deliver. Most of the people in the crowd did not know that band, but they came and ripped the crowd apart. Good stage presence and they were exceedingly brutal. After one of their songs, the person standing next to me was completely stunned and yelled out - “Man ! These mother fuckers are brutal.” Could not sum it up any better.

Abigail Williams were up next. I never liked this band. I hated their earlier 'symphonic deathcore' crap. But I did hear that they changed their style in their new release and have abandoned their deathcore roots, shifting to a proper black metal approach. I decided to give them another chance, and a good thing I did. You could feel the temperature in the venue drop by a few degrees when they played their first song. This, for me, was a good sign because it means the band is doing its job well. They played some Good atmospheric black metal. I liked their performance a lot. The first couple of songs were very good. But the third one was not of the standards of the previous ones. But again, it was an enjoyable performance. I did not like their full length release too much, but I ll give it another listen. If anything, their performance merited it.



Now was finally the time. The time for Vader. I couldn’t believe I was actually watching one of my idols play live before my very eyes. The band came out for a couple of minutes to complete the final soundcheck and it sent goosebumps down my spine. Suddenly the moment arrived. A keyboard ambient intro blaring from the speakers and up came the band. I have to say, I have never seen a performance so brutal in all these years. They were amazing. An onslaught that could just be felt to be believed. Within minutes, there was mayhem in the moshpit. The pit was full of beer and more alcohol with people moshing and slipping on it. A couple of fights broke out, but nothing too big. The played for 30 minutes or so and left the stage, only to come back again when we called them out for an encore, And duly proceeded to play, 'This Is the War'. This being one of my favorite Vader tracks, was a fitting finale to their amazing performance.



When Vader's performance ended, I remember thinking that nothing could top this. I couldn’t imagine anything would blow me away like a steamroller to the extent of what Vader just did. But, I was wrong. When immolation performed their final soundcheck, I could feel a chill running down down my spine again. This was the moment I had been waiting for 7 years or so. The band I had been waiting to see for so long were finally here. All of a sudden, the lights dimmed off and in front of us were Immolation. They started off with 'The Purge' from their newest release, 'Majesty and Decay.' The setlist was better than what I had imagined. They had tracks from most of their releases. Highlights being 'Close To a World Below' and 'father, You are Not a Father.' Immolation were intense. The true definition of the word. They sounded evil. More evil than what I had ever experienced from any other band. You could feel the 'Anti-God' sentiment showing through when they played their songs. Singing the lyrics to Father, You are Not a Father was one of the most intense experiences of my life. Again, I am not throwing the word around lightly, but you could feel the need to end all religion and slay a god if he ever existed. I could feel a host of images churning through my head and a feeling of complete evil. This, was the most powerful I have ever felt. And I have to say, it was a wonderful change.

Anyway, I probably dragged this on for too long, but I can still write a page more. This was a perfect gig and to be honest, I don't think any other band will even come close to topping this. I will be watching Nile and Watain in november and I really don't think they can beat this. But one thing's for sure, I wont ever forget this.