Interview with VOMITHEIST

Hi! Your music draws from classic death metal bands, but also has a unique twist of its own. Can you tell us more about the musical influences that inspired Vomitheist’s sound?

We have various influences. Obviously, it’s the Swedish bands like Entombed and Dismember. But also Autopsy, Obituary, Discharge, Morgoth, Disfear and Nirvana 2002. We had the idea for the Stockholm sound at a Grave concert and were very influenced by their and Bloodbath’s sound in the beginning.

Your debut full-length album is a complete package of excellent songwriting, sound, and aesthetics. What was the creative process like in putting together this release?
After our first release “Graveyard Flesh Orgy” we started to write new songs without knowing where this would lead us to in the end. After about two years we had enough material go aim for our first full – length so we also started to think about artworks and recording options.
A friend of ours (the guy behind Aesthetisk Art) had already offered us earlier to draw something so we asked him if he would do an artwork for our full–length. Because he already knew us and our music, we just gave him free rein to draw whatever his twisted mind could come up with. And he delivered big time!
The studio we found through the mighty warriors of Niraleth in Megaton Sword. Back then they just had released their first EP and we liked the sound a lot even though it’s quite different to ours. We checked where they recorded it and wrote to the studio. Yvo, the owner, understood very well what we wanted and did one hell of a job to make the sound as nasty as possible.

NekroFvneral artwork by Aesthetisk Art is equally sickening and perfectly complements the music. Can you discuss the importance of visual aesthetics in death metal and how it relates to your music?
Do you remember the first time you had a death metal release in your hands and before even listening to it you feasted your eyes upon the artwork and were like… fuck this is going to be good! That’s what we wanted to achieve. We all love that old, rotten, hand-drawn artwork style which is oozing filth out of every pore of his nasty existence and Aesthetisk Art delivered that just perfectly.
So even if you run by our album by accident, you just look at the artwork and you know, that this thing probably won’t caress your eardrums. This will hurt on a bone-crushing level! And we believe, that’s just what this album does.

“Strangled by Entrails” is the first track on your album and sets the tone for the rest of the release. Can you talk about the inspiration behind this song and how it fits into the overall theme of the album?
“Strangled by Entrails” was one of the first songs we wrote for the album after our EP. We don’t remember exactly, but we wanted to write a punky song that had a good flow. I think we managed to do that. Lyrically we just had the title of the song and wrote lyrics around it. Normally when a brutal title comes to mind, we write it down so we can use it at some point.

Your lyrics and song titles contain themes of gore and horror. What draws you to these topics and how do they relate to your music and creative vision?
Some themes surely come from the horror movies our guitarist used to watch a lot. The rest of the themes come from our sick thoughts about everything that exists or could exist.
Our music should be horrible, disturbing, puking and disgusting and so should the lyrics. That’s why we always come up with title ideas and write lyrics that pick up exactly on that.

In what ways can the exploration of dark and morbid themes through art and music provide a cathartic release for individuals, and how can this relate to broader societal and cultural issues?
This is a difficult question to answer. In case of our music, we can imagine it to be cathartic to the point where you can just turn it up loud and forget about everything around you. From the lyrical side, we hope of course that this is not taken too seriously, which is why it can also have a humorous approach.
We think, through our music not much will change socially or culturally. However, you can see the social aspects in the scene and the people who are in it. We think this has a positive impact.

Can torture ever be justified in any circumstances, or is it always morally wrong?
That depends on the purpose. In our opinion, if torture is used to harm people, it is always morally wrong.
But there are also certain sexual practices that are based on it. These people should be allowed to have fun, as long as it is consensual, and no one is harmed.

The HM-2 driven Swedish death metal sound is a prominent influence in your music. Can you tell us more about your love for this particular subgenre and how it informs your songwriting?
The idea to make this sound came as mentioned at a Grave concert. We then discovered and listened to more and more Swedish Death and found the Hm-2 sound just great! That’s why we decided to use this sound. It stayed that way until today and we still love it. Songwriting-wise we are of course influenced by these bands. The HM-2 sound is chaotic and very distorted so not all riffs work well with it. We pay a lot of attention to that in our songwriting.

ALBUM REVIEW: NekroFvneral Vomitheist

Switzerland’s VOMITHEIST craft a brand of extreme metal that is completely at odds with their home nation’s preponderance for more experimental and avant-garde takes on the genre. This definitely isn’t a criticism of the Frauenfeld-based trio, as their thick and visceral take on old school death metal is an incredibly powerful and punchy one. Taking many of their musical cues from the early 90s Swedish scene, the band are able to create a brilliantly dense and gory form of a style that’s by now so familiar. For evidence of this, look no further than their debut album, NekroFvneral, a record that brings together death, doom and punk into a noxious blend of caustic and sepulchral intensity that’s very hard not to immediately love.



Strangled By Entrails kicks things off in a punchy fashion, with tight punk drumming and grating guitars building a powerful, sludgy sound. It’s a domineering monolith, with coarse vocals, a dirty tone and murky production lending this a classic feel that’s hard not to get drawn in by. Epidemic Disembowelment shifts to brooding death-doom, with huge rhythms, slick leads and a steadier beat making for a catchier offering with a sombre edge. The frenetic moments that are peppered throughout add a fiercer element, but this is mostly a slower, bleaker offering. Horrific Bloodshed, another punk-inflected death metal track with great, groove-laden guitar work and acerbic vocals, serves as yet another energetic and imaginative slab of old school death metal. Morbid Decomposition, with its thick, chugging hooks, weighty bass and visceral vocal deliveries, is another solid juggernaut, although its approach to riffs is more spartan, allowing the meaty rhythms to carry much of the music.

Putrefaktor follows in a similar vein, with the guitar sound being centred around huge chords, and the vocals and authoritative drumming being the focus at various points, with the end result possessing a muscular and aggressive feel. Symbiotic Putrefaction proves to be a chaotic and belligerent affair, with razor sharp guitars, punishing percussion and rumbling bass lines all creating a dark and unhinged sound as bellowing vocals further contribute to the emotive heft to make this song one of the album’s best. Chapel Of Abhorrent Reek And Festering Slime, a brief, ambience-driven segue, perfectly sets up the following track, Tormenting Fungal Infestation, a song that reverts to the monstrous, swaggering rhythmic style of earlier tracks, making a little room for disjointed leads, but very much remaining focused upon its crushing undercurrent.

Gut Asphyxiation, another rabid and blistering offering built around angular guitars, intricate drum work and bestial vocals, along with a few well placed bass interludes, is another album high point, with the musicianship and songwriting surpassing all but a couple of other tracks, lurching from full throttle death metal through to ponderous, doomier passages in a combination that works extremely well. NekroFvneral serves as another brief burst of brutality that sets the listener up for this album’s final, sprawling track, Carnivorous Cult; this is a slower burning offering, with cavernous, primal drums laying the foundations for the haunting guitar hooks and throaty vocals, at various points incorporating the numerous influences that have come into play earlier on the album, from primitive punk hooks, to sombre death-doom, to old school death metal, and thereby ensuring this lengthy and expansive piece of music doesn’t become stale.

Even though NekroFvneral, and in particular its sound, is far from original in its approach, this is an incredibly impressive debut album. It has the sort of gnawing, sludgy guitar tone and dirty production that served the likes of ENTOMBED, CARNAGE and DISMEMBER, and although this particular musical trope has been done to death within the death metal scene in recent years, it works extremely well here, complementing the dense, rhythmic approach of the music, and the harsh, hoarse quality of the vocals perfectly. It’s certainly an album built around its rhythms, and it would have been good to see more adventurous lead guitars at some points, but it’s hard to find fault with any of the songs that feature here. With NekroFvneral, VOMITHEIST have prepared some very solid foundations for their future music to be built on, and hopefully whatever the band does next will be at least as impressive as this album.

Rating: 8/10

Paul Di’Anno detona a versão de “Phantom of the Opera” do Ghost: “Ficou uma merda

O ex-vocalista do Iron Maiden, Paul Di’Anno, não poupou críticas para a recém lançada versão do Ghost do clássico “Phantom of the Opera”. Em um post apagado, Di’Anno disse:

“Todo mundo está perguntando a minha opinião do cover do Ghost de Phantom. Não que a minha opinião importe alguma coisa, mas ficou uma merda”. O post conclui com 3 emojis vomitando.

“Phantom of the Opera” apareceu originalmente no álbum de estreia da Donzela de Ferro em 1980, um dos dois discos que Paul Di’Anno gravou com o Iron Maiden.



Novo EP DO GHOST

A versão da banda de Tobias Forge foi lançada nesta semana como parte do EP Phantomime que além do clássico do Iron Maiden, também traz “Jesus He Knows Me” do Genesis, “See No Evil” do Television, “Hanging Around” do The Stranglers e “We Don’t Need Another Hero (Thunderdome)” da icônica Tina Turner

MARDUK: BAIXISTA É DEMITIDO APÓS FAZER SAUDAÇÃO NAZISTA NO PALCO

 

A banda norueguesa de black metal MARDUK demitiu seu baixista Joel Lindholm depois de fazer uma saudação nazista durante seu show no Incineration Fest em Londres, Reino Unido, no início deste mês.
A banda emitiu a seguinte declaração: “Após uma variedade de travessuras de palco intoleráveis ​​por um Joel muito bêbado no Incineration Fest na semana passada, ele deixou sua posição na banda. Nosso velho amigo e baixista Devo [ Magnus Andersson ] concordou em intervir temporariamente, então é improvável que isso afete qualquer um dos próximos shows.”

EVILE: BANDA LANÇA PRIMEIRO SINGLE E FAIXA-TÍTULO DO NOVO ÁLBUM “THE UNKNOWN”

Os veteranos do thrash metal britânico, Evile, focaram suas músicas na alta velocidade do gênero em que eles se consagraram. Isso até agora, já que no primeiro single e faixa-título do novo álbum, “The Unknown“, que será lançado dia 14 de julho via Napalm Records, a banda teve outra abordagem na hora de compor o lançamento.


Ao invés dos riffs rápidos característicos do thrash, o grupo optou por uma atitude mais devagar e cadenciada. O frontman do Evile, OL Drake, explicou que o disco vindouro terá uma maneira mais introspectiva de olhar para as coisas.

Estamos realmente animados para começar a revelar a próxima página no capítulo do EVILE. Nós adotamos uma abordagem completamente diferente neste álbum e busquei inspiração internamente; me abri de uma forma que nunca pensei que faria. Sempre estivemos a 500 km/h, como no álbum anterior (Hell Unleashed), e desta vez sentimos que queríamos experimentar o extremo oposto – alguns ritmos mais lentos que jamais fizemos antes, com ganchos vocais mais melódicos e dando ao Adam mais liberdade nos solos e na composição. Tenho trabalhado em minha voz desde que mergulhei de cabeça em 2021, e trabalhamos duro por dois anos nisso, então estou animado para que todos ouçam os frutos de nosso trabalho. Estamos realmente orgulhosos do que todos nós alcançamos com este álbum. Este é aquele que espero que possa nos impulsionar a mais ouvidos e lugares onde nunca estivemos antes, para tocar para pessoas que estão constantemente nos pedindo para tocar em sua região.

De acordo com a banda, “The Unknown” conterá alguns temas pesados, incluindo: “depressão, superação de perdas e pesadelos recorrentes, autoestima e imagem, até temas mais pessoas como conviver com problemas da mente, enfrentar dificuldades na indústria da música e até mesmo as preocupações de se tornar um novo pai/mãe”.

OL Drake disse que a faixa-título, em particular, tem sido trabalhada há um tempo, tendo sido concebida originalmente quando ele já não estava mais na banda.

https://www.youtube.com/watch?v=4i0mVlszDuQ

WITHIN TEMPTATION RELEASE "WIRELESS" SINGLE; OFFICIAL VISUALIZER STREAMING

 

https://www.youtube.com/watch?v=3lrDoeSxlm0

Foo Fighters lança novo single “Under You

Foo Fighters lançou nesta quarta-feira, 17, o novo single “Under You”.

Essa é a segunda música a ser lançada desde a morte do baterista Taylor Hawkins e fará parte do álbum But Here We Are, previsto para ser lançado dia 02 de junho.




Além de “Under You”, a banda também divulgou um link para um evento de streaming global que deve conter apresentações ao vivo das novas músicas, imagens dos bastidores e algumas surpresas. Chamado Foo Fighters Preparing Music For Concerts, o evento acontece neste domingo, 21 de maio, e pode ser acessado através deste link.

“Under You” chega um mês depois de “Rescued”, que veio a ser o primeiro single do Foo Fighters sem Taylor Hawkins. A identidade do novo baterista ainda não foi divulgada, mas é provável que a revelação aconteça durante o streaming global, uma vez que a banda retorna aos palcos já na próxima quarta-feira, 24 de maio.