Deamonolith - The Monolith Cult of Death (2024)

   By the complexity of Deamonolith's full-lenght debut, it's evident that the band members having a longer past in the metal scene, since the album just doesn't sound like the debut of newbies. 
   Their music in general could fit next to the '00s progressive brutal death bands, except they laid way more importance on unified sound and song compositions. Therefore the experimenting ambitions are limited, and progressive and other mixed influences are easily distinguishable from brutal death hammerings (usually they come by slow downs). Probably the sound went through the most widest spectrum of experiments. While the brutal death parts having a more modern, but the same time noisy, rumbling impression, the softer parts are varying from classic progressive metal themes supporting sterile sound to late '90s third wave black metal atmosphere. The clear separation of death metal and progressive parts turning the contrast between the two directions quite evident, and basically making the music easier to go into than in case of  '00s progressive brutal death bands. The whole thing also might have a more old school oriented, "respect the classics of the genre" perspective, and somehow it seems like as a necessary step to keep the most identifying style features clear. By their intensity and complex themes, bands like Dying Fetus, Vital Remains, Kataklysm and Vader could be named as their possible influences. "The Monolith Cult of Death" might become a potential favorite for the fans of the modern sound of death metal. 

Void Dweller - Night is Hell (2013)

   Void Dweller was one of Mr. Kamil's (Xaos Oblivion, Demonic Slaughter) plenty of side-projects. All of his bands were basically some mixed forms of black, death and thrash metal, and like in such cases so often the question stands, why all of the albums couldn't be released under at least two names? Void Dweller for instance was so similar to Demonic Slaughter (even the album design fits pretty well), that it could have been another Demonic Slaughter album too. 

   Not surprisingly "Night is Hell" had quite old school ambitions, but not trying to imitate the sound of the early '90s or the late '80s. The production is good, and despite the old school influences, it definitely reflects the sharp sound quality of '10s records. The music is intense blackened death, that sometimes refers to first wave features both by themes and vocal style. When the vocal switches to narrative style, the main impression at slower tempo reminds to Tormentor, while at intense speed it's similar to Root or Inquisition. There is a specific experimenting feeling to sense during the album that was quite usual at '90s Eastern European black and death metal bands, but on a way more developed level, that none of them were able reach, mainly because they've split up earlier. And the very few who survived, have chosen slightly different path due to line-up changes and personality development. If Void Dweller's intention was to reintroduce that now already vintage approach, they definitely succeeded. But it's also possible, that while time have passed and many things has changed meanwhile, Mr. Kamil didn't, and he was completely unaffected by most things that happened during the decades. However, "Night is Hell" (and Demonic Slaughter in general) a pretty enjoyable living fossil in the Eastern European extreme underground. Recommended for the fans of ancient blackened death!

Deep Desolation - Rites of Blasphemy (2012)

   Deep Desolation's activity isn't interesting only because they're playing black/doom, a rarely appearing and therefore yet untapped subgenre, but their approach is also unique. 

    On their first album they've already experimented with confidence, and its sound was more black metal compatible. By "Rites of Blasphemy" they went further, the themes are more diverse, and by the sound drifted closer to a more modern approach, that might include some drone influence. This mixed sound is definitely not usual in black metal, but from the '10s further bands tried themselves this way, usually bands with mixed styles, like black/death or crusty-sludgy black. In case of Deep Desolation the wide range of themes could be one of the reasons why they've selected this path, cause a less sizzling sound might be more advantageous for their more traditional solo themes. But another possible reason could be the various musical influences of the band members. The fact that the whole thing didn't turn out in some incoherent tangle, and the band didn't only found common ground and created unified albums, but was also able to develop their style further, proves the work of practiced musicians. In total "Rites of Blasphemy" is an excellent record and could be a milestone in the lesser known and underrated style of black/doom metal.

Call ov Unearthly - Blast Them Away (2012)

   Call ov Unearthly formed in 2005, but their full-length debut came out only in 2012 which is (except a demo compilation) their one and only album so far. But meanwhile 2 of their members played in a band called Ulcer Uterus too, that also played brutal death and had the same style.

   The music of both Ulcer Uterus and Call ov Unearthly wore the marks of the technical brutal death era of the mid '00s, and both bands practiced the style with excellence, releasing high quality records. The influences of bands like Vital Remains, Dying Fetus and Vader could be easy to discover in their music, especially Vader's influence by their simple song structures that are mainly relying on the overwhelming effect of frequently appearing and long lasting blast beats. These also serving as a unifying feature, giving frames firm as rock for all songs. At one hand it's advantageous, cause despite the technical or often switching guitar themes the unified sound never gets even slightly broken. But the other thing is, that the same time this solution cuts off any further possibilities to sound different, or to express anything else. Moreover there have been a nearly endless line of bands from the mid '00s whose music relied on the same thing, and it became challenging to identify certain specific features that could have served as differences between the music of these bands- if there was any. These could have been the main indicators why many of these bands tried to involve music such elements or very different music features and influences that had nothing to do with brutal death or with metal in general (Fleshgod Apocalypse for instance). The other way was to go in production quality as high as possible, such as Call ov Unearthly did. However, until the late '00s both paths had tremendous amounts of bands, and the whole technical / progressive brutal death wave was collapsed and forced into background. Therefore "Blast Them Away" was a late came release from this perspective, but illustrates well the several years earlier tendencies of the extreme underground. For brutal death fans this short, but purely devastating album might be strongly enjoyable.

Embrional - Absolutely Anti-Human Behaviours (2012)

   Embrional formed in 2003, and probably the nearly decade long period until their full-length debut wasn't passively spent, since "Absolutely Anti-Human Behaviours" became a musically quite mature and strong record.
   Their music had both technical and brutal death influenced tendencies. This alongside some very familiar guitar themes, album's sterile sound and the vocal style strongly reminded to early Immolation. Despite the returning references, the endeavours of creating their own specific sound could be sensed, mainly by their experiments of various song structures. In total the mix of the continuously coming diverse themes and sudden, frequent tempo switches resulting some pretty crazy main impression. But all compositions turned out so well, that it makes questionable if the band truly just experimented with the whole thing, or everything was so well written and calculated. Quite often it feels like if the main leads just trying to break the unity of the songs to live their own lives, but the some balance always keeps returning in some form - by a sharp riff, or by insane hammering, or even by a calm and slow melody. So actually it sounds like if the disharmony would get broken frequently by balance. The great variety of themes and musical solutions at one hand making the album challenging to go into, but the same time they having unifying effect. In general the production is great and all-round high quality, from sound to visual elements. The only thing that could keep "Absolutely Anti-Human Behaviours" from the masterpiece status is the too evident and frequently returning Immolation influence, cause it might take too much from the music's genuineness. But for prejudiced Immolation fans and for those who prefer insane brutality in any form, this is a must-listen-to album.

Vephar - Ascension Through Torture (2022)

    Vephar was formed in 2021 and debuted with a stunning EP titled as "Human Beasts". Their music combines the features of old school and brutal death metal embedded in the modern sound of the genre. And with the inevitable assistance of deep growling vocal style. According that it's performed by a female vocalist, this authentic performance might count impressive and exemplary not only for fellow male growlers, but also for the nowadays unfortunately widely spreading metal girl barbie wave.

   Their returning, full-lenght release follows the line that they have started, but on a more intense level. Their style is kind of complex and developed for a new band, and as for possible influences that suspects old school bands that had more technical tendencies on the side of staying at raw brutality. Bands like Morbid Angel, Vital Remains, Suffocation or Immolation. However Vephar didn't go too far in any of the mentioned directions, and they seem to prefer staying on the border of brutal, technical and old school tendencies. Modern, clean sound proved to be advantageous with this kind of hybrid style, by being able to highlight the effectiveness of these mixed features. Even though massive brutality is the most memorable feature of the album, common speed and theme switches making it more diverse. Unlike at most other similar bands they're not relying on the effectiveness of sudden and unexpected switches, but instead continuity and balance had determining importance on the album. In summary "Ascension Through Torture" is a well composed high quality record, potencial favorite for the fans of the old school and brutal aspects of death metal.

Norylsk - Political Pollution (2011)

   Norylsk had a stunning debut that seemed to merge new waved  grindcore with the old school features of the style. 
   In sound and most themes the influences of the modern sound of grindcore are dominant, and that's kind of the same what could be heard from most brutal death bands. The well known punk and groovy themes are frequently returning, however, their role is quite secondary, since the devastating sound and intense brutality makes it impossible for any softer themes to prevail on any level. The lyrical concept based on politial and social criticism refers to the very roots of the genre, though while listening the album the musical background drifts closer to goregrind. Unlike classic grindcore bands, Norylsk doesn't seem to pick an ideologic side, and sending their "blessings" all-round to society from the conservative Catholic church through the neo socialist political heritage to the easily manipulated individuals who keep the corrupted system running. Interestingly the band name came after a Siberian industrial-miner town that's famous about it's difficult living circumstances by intense environment pollution and extreme climate. The metaphore seems quite relevant according to the albums concept too. On the side of having guts to turn against everything, similar seemingly small hints with heavy background meaning used to make old school grind bands authentic. By their insane intensity and fresh rebellious attitude Norylsk might not disappoint the old fans of the genre either.

Deep Desolation - Subliminal Visions (2011)

   Since black/doom metal is not a common thing to find, the style definitely have potential if it's about introducing new aspects and possibilites. And it's exactly what Deep Desolation did.
   Interestingly the situation of black/doom somehow reminds to what happened with death/doom before the late '00s. Though the subgenre existed since the late '80s, only a few bands tried to play it, and most were short lived. In black metal seemingly it's depressive direction supposed to fill a similar role, though it's a far different thing, since it completely lacks the heaviness and musical effectiveness of doom metal, and relies only on strong atmospheric sound. In Deep Desolation's music there are no references to find to any of the older names that could be related to black/doom, they just played their own old school rooted style with slight groovy touch. This groovy affection is resposnible for their common switch to middle speed, and not turning all songs too slow or extremely long. It's like if the band tried to find some middle way for themselves to not turn too exaggerated ino any direction. Their music somehow reminds to old Samael and Morbid Angel with some even older, traditional '80 heavy and doom metal influences. Therefore "Subliminal Visions" doesn't lack catchy themes, heaviness and atmosphere either. The raw extreme basics got mashed up and after doom based themes and groovy intensity were added, it turned to some massive creamy mixture like if the instructions of an old recipe book have been followed. Because of it's less extreme features this creamy black/doom might fit to the taste of wider audience than just the fans of black or death metal.

Preludium - Impending Hostility (2010)

   Preludium had a genuine approach of death metal that even was well composed since the beginning, but effected kind of raw and wasn't so easy to go into.
  This rawness came partly from their cold and unfriendly rummbling sound. But the complex, disharmonic themes took the main part from it. Their music could be compared maybe to Immolation, but on a simpler level and with a much different atmosphere. The band preferred middle speed assisted by constant blast beats, that gets interrupted frequently with long lasting snare drumming. This makes sure that the music never loses from it's intensity, but because it also have quite monotonous effect, that was enhanced by the sound, it's also keeping it back. From this aspect there is some analogy to find in their main direction with Bolt Thrower. But if it's about to express intensity, some diversity at the drumming style could have been more effective. Compared to Immolation, on "Impending Hostility" also the lack of diversity could be found responsible for not reaching similar level of brutality. About the other features the sound and theme selection ended up great, and resulted a massive apocalyptic feeling. Preludium's music always had some modern touch, that reflected the actual trends of the main scene, but without trying to copy anyone too spectacularly. This wasn't different on "Impending Hostility" either, that was already their fourth full-lenght release. There is some slight black metal influence to find in the themes too, but their role and effect is quite minimal, and doesn't seem so evident in the shadow of the absolute death metal ruled tendencies. 

Cryptic - Infinite Torment (2010)

   The modern sound of death metal was represented on Cryptic's one and only album. On the side of the intense starting swing, "Infinite Torment" wears plenty of other signs that are usual to find on the debut of a young band.
  Probably the band members did their best to found some common ground, but if it's about themes, "Infinite Torment" is kind of an experimenting/pathfindig album that didn't become so unified as it might be expected at the beginning. The sound, the mixed themes, the switching vocal style and the song compositions are illustrating well how a modern death metal band should sound like. At the beginning the themes mixing the style of old shool and brutal death, but later thrash influences are getting more common on the side of longer leading melodies. Even though it doesn't have much effect on the sound and on the vocal performance - since these 2 are mainly responsible for keeping the the album together -, with time "Infinite Torment" gets way more chilled compared to how it begins. The different influences and motivations of the band members isn't hard to sense. In general all of their imaginations could have worked well separately, or even together by the current diversity if they were composed together. But this way the main view became kind of raw and it has left behind a great question mark about a possible future continue (that didn't happen), because all mentioned options sounded promising.

Foe - Madness (2010)

   Foe was a short lived project that definitely wasn't formed being fired up by the motivation to take place amongst the thrash/death metal elite. Instead they've played kind of an alternative and uncommon style of the genre, that's maybe the best way to shortly describe as primitive.
   This primitiveness comes from 2 things: first the nearly rehearsal sound quality, that tells about a low budget release. That's not necassarily bad, since the album sounds quite nostalgic therefore, and  because probably the members were not "young titans" that time either, "Madness" authentically recalls the old school feeling of the early '90s. The second thing comes from the simplicity of their themes, and from keeping things kind of low. They didn't seem trying to impress with any extremities. "Madness" doesn't lack thrashing, but slow downs to middle speed are common and longer lasting. They preferred simple melodies that are effecting mostly as catchy leads, but sometimes also creating a quite sick atmosphere. All assisted by deep growling vocal. It sounds like the band was mainly interested to express a heavy and obscure impression that could be compared to bands like Ascaris and Apophis, since there is some analogy to find how their songs and concept were built up. The direct influence of Ascaris also could be imagined. Despite the primitive tone of "Madness" the album shows way wider perspective than how it might be expected at the beginning. With time further depths getting introduced slowly, step by step like if the album was some factfinding confession. In total it might be enjoyable for the old school fans of the genre. 

Underdark - In the Name of Chaos (2010)

   Nearly all technical brutal death bands of those times were influenced mainly by Immolation and Suffocation. Underdark wasn't much different either, since the strong influence of Immolation could be sensed in their music.
   The band's one and only album was quite an experimenting one, that also wore the typical features of the new bands of the style. The brutal death hammering often turns out into a melodic direction, but they're not able to take a leading role, since their appearences are too short. The same could be told about the involved symphonic elements, that are showing up as short relaxing melodies performed by piaono and string instruments. They're not completing the music at any rate, and by not becoming the essential part of the album, these unexpected short switches are just like giving a hint about other possible aspects. Like if someone's listening to music while walking on a street somewhere, but on the way loud music could be heard sometimes randomly from nearby apartments. They've also experimented with common speed and theme switches, and a second backing vocal could be heard too. Even though "In the Name of Chaos" is a complex album, the songs are too short to effectively express it's complexity. There could have been various ways to go forward with these themes and to unify the album, but the limited duration didn't give the possibility. 

Masachist - Death March Fury (2009)

   If the Polish death metal scene could be described by exact style features, Masachist would be a great example to introduce these characteristics. 

  First of all it's important to mention that even though the Polish scene is kind of diverse, and proved to be a musically quite active and flexible scene, the returning features (that are essential to be able to cathegorize anything) materialized only much later. The first death metal releases came out in Poland from the early '90s, but they were kind of experimental or followed the actual old school scene. Some more brutal albums have shown up too with time (like Armagedon, Vader or Monastyr), but the dominance of this style became clear only much later, from the early '00s, as more bands have formed in this style on the side of the oldies. Masachist's first full-lenght album showed analogy with other newer death metal releases, like Supreme Lord, Azarath and the late sound of Vader and Armagedon. Their style keeps staying on the borderline of old school and brutal death. Just like the mentioned bands, they also preferred clean sound and high quality production to make every sound to be heard clearly in the hope of putting brutality in focus as much as possible. In the main scene this tendency reflects the late ambitions of classical bands like Immolation, Suffocation, Dying Fetus, or Deeds of Flesh. Musically the influences of these bands could be also noted. It's not questionable if it's truelly increasing the effectiveness, but if it's about the long time enjoyability, it's not quite sure, because for the listener everything might become too repetitive and predictable. The second reason why the scene was able to take some unified form, comes from it's littleness. In the bands line-up members of Decapitated, Azarath, and Vader could be found, so they brought the same influences into Masachist too. 

However it's clear from first hearing that "Death March Fury" is a well composed, high quality release, made by musicians with notable background. 

Armagedon - Death Then Nothing (2009)

   Similar to other old bands of the early '90, Armagedon also have returned being inspired to recall the long missing style of old school death metal. The big returns sometimes have been short living, the bands only tried to imitate their long lost early swing, and the new releases became forgetable. Fortunately this wasn't the case with Armagedon.
   The brutality they have produced back than on "Invisible Circle" was quite extraordinary even compared to the current scene and to their fellow coetaneuoses. The same quality have returned by "Death Then Nothing". Even if the level of the aggressive tone they had before seems now a bit lower, they couldn't be judged that they didn't return with something damn intense. Maybe the main view seems a bit less angry because of the clear sound, that's more usual at brutal death bands; but their music was always strongly compatible with brutal death, the difference could be hardly told. This small change was needed maybe because it seems the band lately payed more attention on the themes and song structures, to gain their maimum effectiveness. As time flows, preferences are changing too, and musicians also having their own musical development meanwhile. Plus in Armagedon the lineup has changed too, only 2 of  the old members played on "Death and Nothing", but except in the case of the vocal it's not really possible to tell after listening. The return certainly couldn't disappoint the old fans, cause it didn't only recall a nostalgic feeling, but also embedded the old school brutality between modern frames without any style change.  

Azarath - Praise the Beast (2009)

   Azarath was founded by Inferno, Behemoth's drummer as a side project in which several well known names of the Polish extreme underground scene have shown up.

   While Behemoth turned more mainstream and audience friendlier with time, Azarath was formed to represent of pure blasphemous musical brutality, and that didn't change much since than. They debuted with a quite intense, and obscure toned brutal death album, and from their third full-lenght release it seemed like they tried to increase that intensiveness by turning a bit more technical. This ambition is maybe more evident on "Praise the Beast". The main view by the combination of chaoticly switching fast themes, the hell deep growling vocal style and the everlasting brutal hammering somehow keep reminding to Immolation. But maybe it's little bit more exaggerated/blasphemous version. The frequently switching guitar themes, technical solutions and the clear, heavy and great quality sound could make the album very enjoyable for the fans of brutal sound. Unlike at most new waved brutal death bands, Azarath's themes are usually enough catchy and effective to not let the listener to forget after 40 mins of listening about everything that was heard. It's also because these technical switches are kind of moderated, so the themes having some time to be enjoyed instead of piling up too fast to lose their sense. In general all Azarath albums are high quality releases, and "Praise the Beast" isn't disappointing either. 

Black Altar - Death Fanaticism (2008)

   The rougher direction of black metal was introduced by Black Altar, a Polish band seems to take more seriously the "no compromises" thing than most others. They've committed that by simply not following the trends that might seem theoretically clear if it's about this genre, but practically it's not.
   In their music the influence of Marduk and Mayhem could be discovered, but by not turning too raw or brutal. A mystical, occult atmosphere is waving back from the background while the blackening heaviness evolves. Thrashing themes also showing up sometimes that are turning the main impression more old school. The sound is also closer to black/thrash, than to the odrinary sound of black metal, but therefore their rough tone is more sensible. The album is quite intense, and portrays well, how is it possible to fit the most authentically to the concept of the genre. As one of it's most exaggerated mainfestation. In this case the atmosphere isn't too strong and it's also not serving as an emotional lightening, sounds more like the soft touch of the Netherworld, that's on it's way to consume the living. And by the band's main concept the idea of being consumed like that is greedily embraced. Strongly recommended for black metal fans!

Infernal War - Terrorfront (2005)

   Since everything was made in black metal before it became the new trend from the late '90s, bands who seeked for the further depths of extremities, had to find another way. The endlessly exaggerated mix of black and death metal (that was first introduced by bands like Goatlord, Blasphemy and Sadistik Exekution) was their anwser.
   After listening to the starting lyric line of Infernal War's debut, that sounds like "Jesus fucking Christ, bastard son of the Jewish whore", the question may stand, why the most mainstream bands are judged all the time with following satanic and nazi ideologies. "Terrorfront" is surprisingly exaggearated all-round, in concept, ideology and music too. The incredibly intense speed they are playing counts as something very impressive even in this style. The death metal influences increased the effectiveness of the album, it sounds clear and therefore so aggressive as it's possible. The main impression strongly reminds to Abominator. They're occasinally showing more classical influences too, like short and very fast solo themes and melodies too, but insane brutality is the main feature of their music. From this level of extremity the former competition of brutality in death metal seems hilarious, and made notoriously anti-semitic artists like Burzum to look like boy scouts. "Terrorfront" is strongly recommended for the fans of the most insane and exaggerated musickness.

Supreme Lord - X99.9 Kill Your Enemies (2004)

   Supreme Lord was formed when the extreme metal scene was on it's late arrived top in Eastern Europe. And similar to old, but lately shown up death metal bands, Supreme Lord realesed only some demo tapes, and had to wait a lot for a full-lenght debut.
   But their time has finally come, and it seems like the meanwhile changes in the extreme underground didn't avoid the attention on the band. Their style shows many similarities to the early Polish death metal bands, like Schismatic, Ghost or Armagedon, but the influence of the modern sound of the genre also could be sensed in their music. Polish bands often sympathized with brutal death, and Supreme Lord is also no exception. On the side of the leading old school themes, brutal death hammering is also common to find on the album. They've tried to mix these influences, and the fact that the last five songs were written a decade earlier, not only helping this ambition, but also showing the difference between their typically old school '90s style, that wasn't so unified yet, and included even early heavy and thrash metal themes; and the late brutal death influenced hammering. In some way "Kill Your Enemies" is like a late recorded compilation album that summarized the decade long musical activity of the band.

Ascaris - Storm of Dilemmas (2001)

   Ascaris have returned after a longer break with "Storm of Dilemmas", that became the swansong of the band and the summery of their musical work the same time.
   During their one decade long active period they had only two full-lenght albums and one EP, but each record showed a different state of their musical progression. "Storm of Dilemmas" included the melodic ambitions of "Grapes of Wrath", but also turned back to the old school sound of death metal that could be heard on their debut "Uncured Sickness". This album didn't have so catchy melodies like the EP and also wasn't so raw like the debut. It was somewhere between with it's more mature sounding themes played by already well experienced musicians. They never kept in secret that Death was an inspirational band for them by their occasionally returning references, but the influence of Death's late period is more evident in the themes of this album. And if it wouldn't be enough evidence, they also covered a song from "Symbolic". "Storm of Dilemmas" took place on the borderline of styles such as the EP back than, but in this case the band came up with more diverse themes. The album was intense and fast just like how old school death metal should be, but also introduced the modern sound of the genre. Nostalgic and progressive the same time and consumable for wider audience too. Another masterpiece by Ascaris!

Hazael - The Kiss and Other Movements (1998)

   Hazael appeared as a Scandinavian mythology inspired death metal band of the Polish underground scene in the early '90s. After one album and a split-up they returned with something different.
   While most older death metal bands turned progressive or into a popular direction, others tried gothic doom metal. Hazael chose the second path, but somehow things just didn't work out like at the big names in this style. Even though the concept is related to gothic ambitions, "The Kiss and Other Movements" was a heavier album, and reminded more of stoner/doom than ordinary gothic doom. The melancholic touch is very strong, but it's definitely not the emotional breakdown of dark feminine male love machines. The album sounds too badass for that, groovier than classic doom used to be, but lacks the psychedelic features to count as stoner rock. The vocals may sound weird and amateur sometimes, but fits to the music and together they created a raw main view. The old school touch is strong, so it's like a kind of extraordinary doom metal, a genuine experiment for the late interpretation of the style. The album is very enjoyable and instead of the gothic lovesickness or the stoned levitation includes a different feeling that may sound familiar from somewhere, but still  maybe it wasn't even made in this form yet.