Swamp Abyss Sorcery Fest – Saturday 10/13 @ BACKBOOTH by orlandooom407

Salutations readers. Our inactivity ends today. I went over to the fuse box this morning, flipped the switch and proceeded to breath in the gaseous dusty internet tumbling through the air. Not only has the blog been resuscitated, but we plan to begin hosting shows in Central Florida once again starting in December. I think all ya’ll will find yourselves presently surprised at the lineup for our comeback show.

But, before we get ahead of ourselves here’s a much more immediate means to satisfy the heavy appetite. This year, and month in particular, have been rife with new releases from the likes of big leaguers like Converge, Trash Talk and even those sci-fi dorks Between the Buried and Me. I’ve had the pleasure of attending three delicious festivals myself: Maryland Deathfest X, 305 Fest and Scion Rock Fest 2012. If you buy all this apocalypse garbage I’d say this year would qualify as a grand finale for any heavy enthusiast. Now, Orlando, yet again, gets to throw in to this gargantuan pile thanks to Ninety Proof Productions. Hopefully this next image jogs some memories:

If you haven’t snagged this yet, do your ears the favor. This compilation offers tracks from the best in Floridian extreme metal bar none. While the upcoming fest doesn’t feature every single band included there’s inarguable representation. Fast, slow, you name it you’ll hear it. Orlando’s representation includes the blackened humidity of Fire In The Cave, the tombstone ridden deathdoom hypnosis of Druid Lord and the apocalyptic doom country anthems of Hollow Leg. The Miami hat trick of Shroud Eater, Holly Hunt, and Orbweaver stand to stake their claim as our unconditionally loved cousins of the glades. Don’t forget St. Petersburg and Gainesville either, represented by the drunken metal punks flyingsnakes and midnight (pun intended) riders Hot Graves. Click the flier above for more details and some gut busting comments.

Now, one last order of business. We are actively accepting sample submissions for writers who want to contribute. If that sounds like you please contact Orlandooom407@gmail.com for more details.

Don’t forget you can always keep up with us on FACESPACE and TWATTER (@Orlandooom).

See ya’ll Saturday.

– Jared Oates Haggard


Technical Thrashers HEXEN Post New Track by orlandooom407

Tuesday gets a thrash attack from LA based thrash band HEXEN. They posted a new song last night on the Pulverised Records Soundcloud page. The track is entitled Stream of Unconsciousness and while the pun remains timid the song itself runs a bit more wild. Here’s the official verbiage:

“Los Angeles progressive thrashers HEXEN have officially released a sample track from their forthcoming new full-length, Being And Nothingness set for North American released through Pulverised Records on July 17, 2012.

Recorded, mixed, and mastered at Vivid Tone Recording Studio (Lividity, Guthrie Govan, etc.) by producer Rich Bruce.”

Pulverised Records

Swamp Abyss Sorcery – A Guide to Floridian Metal Circa 2012 by orlandooom407

I sincerely apologize for the lack of updates over the past few days. Combined with sending this grotesque chimeric bastard’s likeness to many of the blogs and forums that I frequent I’ve been heavily preoccupied by life, Fire in the Cave writing sessions and other writing projects. His name is THROMBIBULOUS and he exemplifies what happens when Rick Scott reveals his true form, except well, his flamingo penis is probably significantly smaller. He’s the newest mascot for several of us Florida people who decided to compile our songs together for this FREE COMPILATION entitled Swamp Abyss Sorcery. Satanik Recordings and HOT GRAVES compiled and released this free digital compilation on Valentine’s Day equipped with lore and artwork by Jean Saiz:

To help consolidate all necessary free time for the sake of enjoying the music I’m going to provide a series of one sentence matter of fact explanations of each band:


Shroud EaterA  malevolent and equivocally dissonant stoner metal trio armed with a PhD in savagery.

Holly Hunt – Armageddon flavored instrumental drone doom duo with an enamoring gazey trim.

Orbweaver – Deranged psychedelic death metal hurdling through space at speeds that make The Milennium Falcon look like your little sister’s moped.


Druid Lord – Tomb smashing death-doom quartet smelt together by ancient witchery and venomous rhythms.

Fire in the CaveI don’t critique my own band. Grim Kim Kelly did though.

Tampa / St.Petersburg:

flyingsnakes -Explosive blackened crust that eviscerates boundaries between metallic and anarchic.

FatalUnabashed thrash that will trash your entire hash stash to fuel their toxic lashed dash.

Party Time – Hyper active hardcore punk in less than two minutes or your punishment’s free.

Jacksonville / Gainesville:

Hollow Leg – Ravenous Floridian cult classic doom quartet that’ll have you saying “WHAT?!” for days.

Extremely Rotten – Red herring gore grind brutality with vocal tones so low that if plumbers had spidey sense it would violently tingle against the subconscious.

HOT GRAVES – Menacing blackened thrash burning a glorious Midnight inspired homage straight through your mind’s eye.

If you haven’t already, CLICK HERE to download the entire compilation for free.

– Jared Oates Haggard

Total Rust Triple Feature Review /w Lurk, Chaos Dei and Tort by orlandooom407

Our new friends over at TotalRust Music recently sent me a nice care package with some of their newest releases. For those not familiar, TotalRust is an Israeli Extreme Metal/Doom label which has been around since 2004. They sent me three ridiculously crushing releases to kick off 2012.

These mad druids hail from none other than Finland and bring with them some of the deepest cutting death/doom I’ve heard in ages. This apparently self-recorded (doesn’t sound like it!) debut smacks its listeners in the face with pure Reifert-worshipping brutality. It starts off by plodding along like an orc filled war wagon at a pace that can best be described as “Hey, I think the wheels are about to fall off.” Vocalist Koskinen stands atop the mound of low tones and bellows his variation of the Cookie Monster Overlord vocals we all know and love. There’s also some definite Crowbar influence in these guys, laying down riffs that would bring a tear to Windstein’s eye. If I had to a pick a winner out of this pack of three, this would be it, as it hits that doom sweet spot dead center while also being versatile enough to explore ambient passages and not lose momentum or sound like a bad Lux Occulta. Or a good Lux Occulta, for that matter.

Chaos DeiArising From Chaos
This is a French duo, playing above-board grade Black Metal of a decidedly un-kvlt variety. My favorite type of BM, these guys have a lot in common with America’s own Woe; they blow past the majority of BM bands in terms of raw intensity and insert so many esoteric and non-metal elements into their sound it’s almost criminal to keep calling them a mere Black Metal band. Either way, once the strange sounds and Pink Floyd-esque heartbeat sample roll away from the first track’s intro, you know exactly what you’re getting into, as Chaos Dei show they can still take you on a ride to Ragnarok without sacrificing their individual sound. It’s actually sort of funny that you can tell vocalist Eurynome has a distinct French accent when he sings; it lends a color to his vocals that automatically separate this from any Scandinavian or American BM band. Very cool, and while the album is extremely cerebral and demanding, I’d still headbang to it all day, every day.

This is a Spanish group specializing in a thrashy brand of sludgeonomics that actually reminds me of some of our own Floridian bands like Six Dead Horses and Shroud Eater. The vocals are fucking awesome, totally what I want in sludge bands. Hear it for yourself, I just enjoy it when a vocalist can make himself sound like a Imp from hell gargling spoiled milk. Perfect. The drumming is very similar to other Spanish bands, such as Orthodox and Monkeypriest, heard especially during the middle section of the first track on this album. Polyrhythms are always welcome in sludge metal, especially with riffs as strong as the ones found within. Definitely one to peep, especially if you know how heavy the above mentioned Spanish bands are.

These are all very good releases, and I’m glad it’s furthering my assertion that 2012 will be a great year for metal across the board. None of these bands are particularly large or well-known (at least stateside,) so it’s a pleasure to get ahold of these and spread the good word about our brothers in the Gospel of Heavy Shit. All releases are out NOW on TotalRust, so be sure to head over there and grab some solid sounds and look through the rest of their catalogue for some other unsung classics. Stay heavy!

– Chris Nunez

Dystrophy – Split /w Dethroned Emperor by orlandooom407

Zombie? Check. Funeral monument that appears to be comprised only of souls glued together? Check. Magical skeleton wizard shit? Double check. Dystrophy, hailing from New Brunswick New Jersey, was brought to my attention by their guitarist Peter Brown. I’m glad he did, nothing I admire more than a DIY e-mail, especially because this caliber of musicianship is always welcome in my ear holes.

This record doesn’t waste any time, and the first track kicks down your comfort zone without any regard for a build up. The blurring speeds of the guitar work from the very get go are exceptionally jarring and technical. That said, the precision at which each member performs gives unquestionable merit to the rapid displays of multidimensional musical characteristics. Qualities of Cephalic Carnage  style death grind are most prevalent throughout, but I feel that the lucid transitions from rigorous technicality to subdued jazzy interludes prove the most satisfying. Everything just feels so seamless during these moments, and they’re usually accompanied by a wicked guitar lead reminiscent of Atheist style old school death metal. I’ve always thought that when classic death metal fuses into differing root sentiments, as far as song construction goes, it always delivers an intensely gladdening reaction. There’s also apparent evidence of thrashy persuasions during certain “less tech more deck” segues. There’s a lot going on here, and it all sounds fucking great.

With no shortage of brutality, I feel that the vocals really shine here. The placement highlights itself within each riff, and never simply follows the rest of the instrumentation. Each burst of demoralizing utterances acts independently within the tornado of fervent blast beats and incalculable time changes. I know I haven’t mentioned Dystrophy’s uncanny taste when introducing a half-time variation (breakdown for all you children). Even though it’s painfully obvious that Dystrophy sets themselves apart with their dexterity they also can mutate those sentiments into wonderful segments of neck snapping brutality akin to that of Cryptopsy or Pig Destroyer. 

I have not yet listened to the other side of this split by Dethroned Emperor, but, with a name like that, it’s a safe bet that I’ll be taking a listen very soon.

Click here to check out Dystrophy’s Split for a NAME YOUR OWN PRICE download on their Bandcamp page!

– Jared Oates Haggard

Absu – Abzu by orlandooom407

It’s been a good year for metal already, and I was definitely looking forward to this release, the newest album from Texas mythological occult masters Absu. To anyone unfamiliar with their work, they describe themselves as “Mythological Occult Metal,” and play a pretty brutal brand on blackened death. They definitely do not play a straight version of BM, which might be refreshing to anyone who’s been listening to nothing but the frozen lake of sound that is “trve kvlt metal” these days. As for their overall theme, Absu is obsessed with esoteric and occult themes, moreso than most bands; while many bands might have a shitload of semi-Satanic or Hermetic imagery on their albums, Absu lyrically focuses on historic pagan traditions, stemming mainly from Celtic/Druidic mythology and tradition, as well as the Sumerian pantheon and creation tales. “Absu” (as well as Abzu and Apsu) is a name for the Sumerian concept of “holy water,” the belief that all sacred underground water stems from one holy source, an underground sea where the god Ea resides. These Sumerian legends inform a great deal of the conceptual framework for the new album.

Don’t get me wrong, before I looked anything up, I figured these guys had gone tongue-in-cheek, just switching out the “s” in their name to make their new album title sound like some weird fitness center for pets. This initial impression was reinforced by the awesome way the first track opens; Proscriptor opens “Earth Ripper” with a classic thrash riff and a vocal that sounds like he rented King Diamond’s “Instant Satanic Castrato” ball clamp. This will probably seem completely out of place for anybody insisting that their BM be pure (PURE I SAY), but it’s an excellent send-up to bands like Mercyful Fate and Slayer, both of whom have their fingerprints all over this album. “Earth Ripper” is a great opener to this album, wearing Absu’s love of thrash on their sleeves and sending any nonbelievers running for the hills.

“Circles of the Oath” sounds more like the material from the previous album, and is still completely punishing, showing Absu’s ability to incorporate the usual “whirlwind of tremolo picking” with rapid dynamic shifts. Proscriptor is still an absolute beast on drums, and has always had one of my favorite voices for black/death/whatever metal. He achieves that nasty “imp gargling curdled milk” sound that tends to shred less capable larynges in minutes. “Abraxas Connexus” has portions that remind me of a faster Cobalt (another great USBM band) interspersed with more Slayer love.

Of course, the elephant in the room on this album is the six-part “A Song for Ea” that closes everything out. The longest song Absu’s ever recorded, this journey through the black temple shifts and turns throughout its 14-minute length, taking us through peaks of vicious black thrash rites and valleys of acoustic reprieve. The entire work refers to the creation story of Sumer, better known as the Epic of Gilgamesh. Ea is one of the gods of the Sumerian pantheon, and “E-A,” the first section of the piece, refers to the “house of water,” Ea’s temple. “The Third Tablet” appears to refer to the section of the Epic where Gilgamesh takes counsel from his mother, Queen Ninsun before making his journey. Overall this whole thing thrashes harder than anything else on the album.  I’m also a sucker for ponderous, multi-segmented works, and even moreso when a non-wank band takes them up. This whole piece is easily my favorite work since they released Tara ten years ago. Perfect way to close the album.

So, metalheads and kvltists alike, check out this album to satisfy your cravings in this dark year 2011. I still prefer Tara over this album or the previous self-titled release, but “Earth Ripper,” “Abraxas Connexus” and the closing track are alone worth the price of admission. With any luck these guys will actually do an extensive tour of their own country this year, and we’ll get to hear Proscriptor’s Arroyo/Diamond-infused fury up close and personal.

Click here to order Abzu, available on Candlelight Records!

– Chris Nunez