• Since there won't be any new releases on BARBARIAN WRATH until October 31st 2013 I…

    27 juin 2013, 17h18m par BarbarianWrath

    Since there won't be any new releases on BARBARIAN WRATH until October 31st 2013 I have decided to send off some titles for repress this week.
    It's DAWNFALL "Dominance Of Darkness" (with over 30 minutes of extra material) and COUNTESS "The Book Of The Heretic".
    Once I receive notification from the pressing plant that the CDs are on their way back to me you'll be able to (pre) order those from the WITCHES BREW webstore along with plenty of other titles the Witch is constantly trading in for your supreme audio torment :D
    Check for yourself if you won't take my word for it... http://www.witchesbrewthrashes.de/shop/index.php
  • It's DAWNFALL and the COUNTESS wants your blood !

    20 jui. 2013, 14h54m par BarbarianWrath

    Rejoice ! After listening to at least a decade of whining and complaining there are finally official reprints of DAWNFALLs "Dominance Of Darkness" and COUNTESS' "Book Of The Heretic" albums available so you can replace your crappy mp3s and CDRs with something solid and official without getting scalped by eGay parasites.

    While the COUNTESS is exactly like the version of old (Clocking in at 70 minutes there wouldn't have been much space to add more material anyways...) the DAWNFALL features the original album and 5 extra tracks (and no, none of them ambient...) and 30 minutes extra playing time.

    Neither version has been remixed, remastered, maximized or any of that modern crap other labels seem to like to violate their classics with. This is just the raw pure filth we originally released. It was good back then, its good now. If you can't handle that, go listen to the streamlined crap magazines like to approve.

    To aquire this one true stress test for your stereo system (I wouldn't even attempt to play that through a smartphone...), grab a beer and head over to my dear wife's Witches Brew shop @ http://www.witchesbrewthrashes.de/shop/index.php
  • DAWNFALL and COUNTESS have arrived !

    9 août 2013, 15h59m par BarbarianWrath

    Professor Farnsworth says: "GOOD NEWS EVERYBODY!! - The Dawnfall "Dominance Of Darkness" (with bonus material!!) and Countess "Book Of The Heretic" CD reprints have arrived!! If you've been sitting on your arse waiting to order, the time as arrived!

  • i wrote an album review again... Caedere - Corruption

    5 août 2012, 22h09m par tomcatha

    Yes this is my first review in a year.

    Caedere – Corruption

    Caedere is a Dutch death metal band from the far eastern part of the country. You know the area where the legends Asphyx and Pestilence came from. This band has been active since 1998. This is their 2nd EP and 4th release overall. They released 2 full lengths in the past. This EP is meant as a teaser for their new album of which the release date is not known.

    I personally heard of this band a few years ago when they were opening a local metal festival. I did not see them back then and my actual discovery of this band happened only fairly recently. Not too long ago they played at another local metal festival which I did attend. I was fairly impressed by their performance and decided to pick up their EP afterwards because it was just 3 euros.

    This is a short EP with just 3 songs running just over 10 minutes. The overall style of this EP I would describe as mostly Floridan in style but with noticeable traces of the Swedish sound. Lastly the groove that a lot of Dutch death metal bands is also there lurking in the back. They actually don’t sound very different from Severe Torture a brutal death metal band from the same country. They however are no copycats. It is more a case of sharing influences and I’d say that this band has less of the classic Dutch death metal groove and sounds more American.
    This EP for me has one obvious issue: the kickdrums. They are just too loud and dominate the mix too much. There are however no other issues with the mix. The bass guitar is audible and has a nice tone. The guitars sound decent albeit a bit too digital.

    The instrumental part of this EP is rather varied. There is no constant blasting, the guitars play varied riffs going from tremolo picking to more groove based slower paced riffing. The bass guitar is surprisingly technical and does not just follow the guitars. In fact sometimes the bass seemingly breaks free and becomes the lead instrument. However these instruments only get to shine when the drummer doesn’t push everything out of the way with his kickdrums. The vocals are a bit bland. The vocals are in the same vein as most modern brutal death metal bands. No pig squealing however. I am not very fond of this style of vocals. Fortunately there is also a backing vocalist who performs higher shrieks. This changes things up a little and makes it quite a bit better in the vocals department.

    The songs themselves are fairly decent. There are plenty of tempo changes but the pace never really becomes less than mid-paced. There is a decent amount of energy however the songs are not very memorable at the same time. Again it seems that the kickdrums are the primary cause of this problem. I am pretty sure I would enjoy the songwriting more if not for this. At the same time it’s the style of this band that is less about catchiness compared with old school death metal. However that’s a trade that this style makes for brutality, the kind of energy and atmosphere. It should thus not really be compared with OSDM. If you look at this release from such a vantage point I’d say that this is above average for its field.

    Overall I’d say that this is a decent EP suffering from one big problem. In the other areas I’d say that there is no real issue but at the same time never really grabs me either. For a couple bucks it’s worth checking it out. Live this band however is quite a bit better and their material shines quite a bit more. Definitely worth checking out if they appear near you and in the end this is a positive sign. If a band sounds better live, maybe they will get that energy decently on a release in the future. In the end i think 6.8 is more and less how i feel about this scoring wise.

    CaedereMorbid AngelCannibal CorpseDeathKreatorSodomDarkthroneBurzumNeurosis
  • 'Technical'

    15 mars 2012, 3h31m par logoslifelover

    Technical Thrash Metal
    - there are many cool bands

    Technical Death Metal
    - most of them are crappy

    Technical Black Metal
    - Anaal Nathrakh

    Technical Non-extreme Metal
    - (a) Fatesryche (b) either Dream Theater or Dragonforce
  • A review for the saturday of neurotic deathfest.

    14 mars 2012, 17h55m par tomcatha

  • Best of 2011 (early edition)

    19 déc. 2011, 9h56m par tomcatha

    I was making a best of 2011 list for a website and thought i might as well post it here.
    However considering it always takes a few years before a i really know the best releases of a year this will change.

    1) Autopsy – Macabre Eternal
    2) Manilla Road – Playground of the Damned
    3) Orphaned Land – The Road to Or-Shalem
    4) Volture – Rulebreaker (single)
    5) Septic Flesh – The Great Mass
    6) Moonsorrow – Varjoina kuljemme kuolleiden maassa
    7) Crowbar – Sever the Wicked Hand
    8) Rudra – Brahmavidya: Immortal I
    9) Vintersorg – Jordpuls
    10) Primordial – Redemption At The Puritans Hand

    honourable mention: Arch/Matheos – Sympathetic Resonance

    Manilla RoadOrphaned LandVoltureSeptic FleshMoonsorrowCrowbarRudraVintersorgPrimordialArch/Matheos
  • The beginning and the end of the retro-death metal movement?

    19 juin 2011, 11h06m par tomcatha

    Dead Congregation - Graves of the Archangels

    Ahhhh I remember how I felt when I first heard this album. My first reaction can be summed up in 1 word: UAAAAGGGHH. Maybe that is not a word. Whatever this album has so many awesome riffs. In fact more awesome riffs than pretty much every album ever. However this gem is more than just riffs. I’ll tell you what s this album has and why you should buy it. You could also not buy it if you hate yourself for some reason, really really hate yourself. Really, really, really hate yourself. Really, really, rea.... yes I guess you got the point now.

    So what do we have here. Well we basically got a new york death metal album that sounds like it came from when the scene in New York was at it's best. However this beast is not from early 90's New York but from Athens in Greece from the year 2008. I personally don't really associate Greece with death metal but like they say RIFFS transcend borders. Read a transcendental death metal joke here.

    The Album art is interesting. The band wanted it to look like the music they made. I have to disagree with them on this. The art looks like something from a bad dream and this album doesn't sound dreamy at all. I like the art despite it not looking as the album sounds.

    The production, the tones and mixing on this album are modern but only the good sides of modern. All the instruments can be heard clearly but without any sterility that plagues so many albums these days. Everything sounds like how it should. With meat, with power and with atmosphere. It's all perfect.

    When it comes to the actual songs. Well like I said earlier they sound like they were made in New York. A mixture between all the big classic bands NYDM bands from the early 90's while at the same time having their really own unique touch. Graves of the Archangels sounds not like a Incantation or Immolation clone. No it stands on its own in fact it stands on a pillar of comparable height as the best of both aforementioned bands. I'm calling it. This is the best NYDM album in years and it is in fact my favorite album of the currently ongoing retro-death metal movement. It's hard to point out specific highlights because everything is of such high average quality. However there are a few moments which give me chills. The intro of Graves of the Archangels with the chanting which just create an awesome atmosphere and the entirety of Teeth into Red and Martyrdoom. Vanishing Faith is also great and and... Fuck it. There are no highlights on this album. This album is like the sun. Even the dark spots will blind you.

    In short: A must have, a must buy, a must own. I don't think there are much more enjoyable things you can do with the couple of bucks this album costs. This album indeed might be the alpha and the omega of the retro-death movement but I won't feel sad if it is. This is a modern classic period. Now hopefully they will start touring more soon. If they do start touring, you can find me right in front of the stage headbanging my neck into a whiplash.

    Dead CongregationMorbid AngelImmolationIncantationBurzumDarkthroneManowarIron MaidenMetallicaArctic Monkeys
  • Asphyx – Awesome Neat Cool

    28 déc. 2010, 2h10m par tomcatha

    First a note: This review is of the DVD+CD version.

    Asphyx are for me local superheroes. Arguably Asphyx are one of the very essential death metal bands that changed and defined death metal. Finally after being around in various states for the last 23 years they finally released their first live offering. Asphyx as a band is known for their great live performances and just sounding like a steamroller so the question is how well did it transfer to live DVD and the 2 CD's?

    In short the answer to this question is very well, extremely well even nay even they made a benchmark of how a death metal band should make an live CD + DVD release.

    This release is split in several parts.

    The DVD:
    First there is the center piece of the DVD. The “Live” subsection of the DVD, their gig in Essen Germany.
    Then there is the “Death” subsection on the DVD. This part is the interview of the band in which the most important band members through the history of Asphyx talk about their role in the history of Asphyx.
    Finally there is the “Doom” subsection on the DVD. This part has various of extra footage.

    Lastly there are the live CD's. The material found here is just the audio part of the Live subsection of the DVD.

    To start with the beginning. The box you get looks quite good. It has neat art in the traditional Asphyx style. The booklet gives you the standard information as well as the short story behind this release and a few pictures of Asphyx throughout the years. Nothing really exceptional but you don't really need more considering the entire history of the band will be dealt with later but now on to the DVD.

    The awesome aka Live.

    This is the part around which this release revolves. The actual performance in Germany from 2009. This performance still includes the former bass guitar player Wannes Gubbels who has been replaced by Alwin Zuur from Escutcheon in 2010.
    This part is all you could ever want from a Asphyx live CD/DVD. The sound is great, Raw and powerful. The camera is what you want, no constant changing of the camera angle and you can see everyone doing their part. The performance itself is great. Asphyx as usual put their usual energy in this gig thus giving you a real good indication of what they are like if you see them yourself, the best term for this is neckwreckingly awesome.
    The total length of the performance is just under 2 hours at 1 hour and 48 minutes. Various tracks from The Rack, Last One on Earth and Death the Brutal Way are played here with maybe a slight focus on the last one. The song's are all performed excellently and there is nothing else really to say about it.
    All this material can also be found on the live CD's. Which are handy for when you don't have a DVD player nearby and feel like some live Asphyx or if you want to listen to this on the computer.

    The neat aka Death

    This is the Hordes of Disgust interview with the band. It basically just consists of most of the important members of Asphyx saying what they did. This interview is fairly low budget and the most special thing you can see is where they briefly walk past the building where they used to rehearse which was in the process of getting demolished. I almost daily saw this building and this gave it something extra for me but sadly other than this you can just watch the the band members talk. It would have been neater if more stuff from the local area was showed or just anything other than their fairly boring faces. Still it gives a good view of the history of the band in a nice amount of detail.

    The Cool aka Doom

    This part is one of the coolest extra's of any DVD I’ve ever seen. You can see footage of Asphyx performing live at various places throughout their history. The most interesting is watching them from stuff from the “Embrace the Death” era when they were all young kids. The material here could be its own DVD almost. The various performances of the band here are mostly really good as well. The Death the Brutal Way video promo is nice to have as well.

    In the end this release is nearly perfect. With my only complaint about a fairly extensive extra. If you are an Asphyx fan or even a death metal fan in general I can only say that I really recommend you getting this as this is the best live release I’ve ever seen. In the end i'm giving this a 92/100.

    AsphyxMorbid AngelMetallicaSlayerBlack SabbathPestilenceBolt Thrower
  • Seventh Church I: 2010 in Death Metal

    31 déc. 2010, 18h35m par orsagnion

    I asked some colleagues of mine if I ought to wait to publish this until the Eve of 2011, and despite their answers, I waited as long as possible anyway. With bands we know to be excellent slated to release full-lengths before the end of the year, I couldn't bring myself to potentially skip them. Now that it is that Eve, and I still haven't gotten a hold of any of those releases, I'm pressing on.

    To appear on this list, releases must meet the following criteria.

    01 · Must be a full-length release.

    Simple enough; LPs only, for reasons other than trying to qualify all the great demos and EPs released this year would have gutted me—but mostly for that reason.

    02 · Must be originally released in 2010.

    I hate this rule the most, but it is necessary to preserve fairness and prevent data pollution. Even 2010 re-pressings by the same band or label to a different format are disqualified.

    03 · Limit one release per band member per band.

    Those of you who know the reason for this limitation, stop giggling. Everyone else, read on.

    04 · Main genre of release must be death metal.

    Water is wet.

    What now follows is a rather painstakingly assembled (and reassembled, and reassembled) list of what has been determined to be the finest ten death metal albums released in this year. A fair bit of you should find most of these entries unsurprising, even familiar. The rest of you are, as of now, out of excuses.


    Band opens course on riff economy; enrollment "oddly low"

    I get it: crafting a good riff is immensely satisfying. So satisfying, in fact, that you want to ride that riff through an entire song—and sometimes, that works. Sometimes, these only a little ex-punk Swedes are so insistent on the chords they're forcing through the hyperdense impediment some would call production that you can't help grimacing and nodding along. Sometimes, the ambulatory Autopsy callbacks remind you, through plodding repetition, that even slightly subpar drumming can get the neck muscles contracting.

    I get what these guys are doing. And in a few years, with this debut under their belts, featuring such numbers as the album blueprint "Funeral" (I count all of two eight-bar riffs in the first ninety seconds) and the no-bullshit "Carnage," when they come around selling pamphlets that remind us that death metal doesn't have to be intricate to be effective, I'll be one of the first to subscribe.


    Nearly not late for the party this time; brings better dip

    Adversity does wonders for creativity. Ask any European doing anything at all before the twentieth century what he thinks of feudalism/famine/France, and you get a sonata to take home with you. Similarly, one could ask a band how they feel about being continually shafted by the inconsistencies and general transience of record labels and receive at least a demo forged from their discontent.

    You may remember Deteriorot. They seem best known for releasing one of roughly two good death metal albums in 2001 (a year as good for metal as France is for Europe), after an eight year delay from their 1993 EP, Manifested Apparitions of Unholy Spirits. The debut album, In Ancient Beliefs, was like a previously undiscovered vertex of the early '90s New York death metal prism, one that, thanks to the same label difficulties that so delayed the debut, did absolutely nothing for the profile of the band.

    Label and lineup adjustments later, Deteriorot reemerged in June to release an album that vents some of those frustrations. What makes this venting different from the ones to which we are accustomed is, most strikingly, the pace; a good number of songs are slow and thorough treatments, featuring the upper-throat rumble of Paul Zavaleta perhaps too prominently, with the guitars oscillating freely between bleak and belligerent beneath him—often within the same song.

    Still don't give a shit? The tenth track is a Sodom cover.


    Death enters studio dressed as black; hides bass, riffs

    After an initial dismissal of this album, I came back to see what I might have missed. As it turned out, somewhere among the thin, black-esque guitars and frequent, black-esque blasts was death metal, hiding as if ashamed of the frontman's gas mask.

    On addressing that familiar nougat, I found a deceptively nuanced release. Blasphemophagher is, to my knowledge, the only Italian band signed to the already hero-level Nuclear War Now!, which does a great deal of explaining the broad differences between their sense of composition and those of their labelmates. For starters, there really aren't very many riffs on this record; the brunt of its sonic progression is achieved through truckloads of sub-tremolo strumming, with most riffs present only as a sort of solace while the band considers which frets to flagellate next.

    Naturally, the production fits this style of play, so unless you have a specific "digesting bestial/war black metal" equalizer setting, leave the cans in the case.


    Incantation adopts pseudonym, records album in cave

    Having been to both Texas and Georgia (please, no autographs), I can safely remark that this album doesn't sound inherent to either state. We have the internet to blame/thank for globalizing the scene and thus rendering the cultivation of geopolitical style-niches increasingly unlikely. On one hand, a fertile scene native to one area can't really be expected to produce eight or nine exemplary bands sharing as many members anymore; on the other, we can hear Goatlord in Spain, Angel Witch in Sweden, and Incantation in the Southern United States.

    Vasaeleth is different. Where other bands mix and match from primary influences, inadvertently leaving clues throughout their music for listeners to detect, this band has only ever been on its way to diabolically conquer some Nazarene's mortal throne in Golgotha, and baldly says so to anyone who hazards half a listen. Every facet of this music invokes that band these two southern gentlemen like so much, but in a way that, fortunately for them, neatly falls between the realms of idolatry and parody. Though this devotion happens to result in a fine record, it's fairly unlikely they'll hit this same mark as squarely if shooting a second time.


    Good ideas in plops; band too lazy to spread evenly

    Were this a list of my favorite releases from this year, this album wouldn't be here.

    Too often for my tastes does this one-man act tease a section of brilliance, only to have it taper shortly after initiation into comfortable double kicks or practiced blasts buttressed by easy guitarwork. "Caterwaull" is the best example of an almost-balance stricken between pathos and performance; shortly beyond the four-minute mark, the instrumentation approaches something near-incredible, then promptly decants itself into a waste of an outro. "Wasps From the Chamber of the Divine," too, is guil-ty, guil-ty of this balance issue.

    Let me make it clear that Andrew Lampe, the lone guy behind the curtain, is an excellent musician and a patient songwriter—that much is clear from even a cursory listen of the album. Maybe in another few years, he'll have a better grasp of whether he wants to release albums full of music or albums full of cool sounds.


    Fearing excellence, band wraps debut in thin production

    After the swell of favor and anticipation for this release generated by the 2009 EP, there was an at best tepid reception to it earlier this year. In retrospect, this is a bit strange; the album is packed full of potent, well-structured riffs, and the members of the band treat their art with distinction (search their 2009 interviews), which is audible in the playing itself.

    What, then, is the problem? How did one of the most anticipated releases of this year become a sleeper album?

    My research points mostly to the production. What we have here is an album that stops just short of hamfisting the black metal sound onto every instrument, almost as if to keep pace with the decidedly black style of the vocals—but the instrumentation is rhythmic, not melodic, and possessive of too much bass to wax grim and/or frostbitten. As a result, we have this crevasse over which the guitars and raspy growls are stretched thin, with everything else then dropped on top; an excellently written affair, and evidently so, if not always excellently conceived.


    Nihilist fans declare: "-12.00dB is the new 0.00dB"

    Nothing happens on this album that listeners won't remember crawling out of Sweden in 1988, which is probably the case because the band that recorded this album formed in Sweden in 1988. One demo, Where Death Will Increase, was released in 1991, followed by two more in subsequent years, before the band fell clear off the map. This path was not an uncommon one.

    Graciously, this is an album that affords us an answer to the question: "If old Swedeath band x released something today, what would it sound like?" I find it fortunate that neither "dated" nor "quaint" appear in the answer; this album is as confident as these albums were in 1990, without the common practice of feigning ignorance of the year in which it was released. Namely, the track "Morbid Death" is singularly one of the best old-meets-new tours de force written in years, and is a clear standout among the tracklist.

    Despite that song, the most obvious example of Interment's temporal awareness is the production. I don't fully understand the decision to brickwall this album—is the label anticipating radio play? Limit your listens either way, or you'll be scraping enough mortar out of your ears to erect your own re-release.


    Punk, metal suspected of conspiring against mediocrity

    If you ask me, there's no greater way to enter the home stretch than with two guys who, by their band photo, may only be properly described as "motherfuckers." We could start with the pervasive, expletive-ridden punk ethos tangible throughout every single song on this album. We could start with the subtle compositional innovations that in the blood-caked, sweat-and-beer-drenched concert setting for which this band was clearly spawned will consistently pass unnoticed. We have many options.

    But really, the band photo is all it takes.

    I guarantee that whatever you're imagining now (even if what you're imagining now isn't music and is instead, for example, tits) is exactly what this band sounds like.


    Nail sues: hit on head "entirely too consistently"

    To properly introduce you to this band, let me point you toward its members, Texans Sinworm and Elektrokutioner, who between the two of them are literally in more bands than I have phalanges and dicks. As the latter is in the lion's share, five of which have released albums this year, the second stipulation as seen above was enacted.

    Decrepitaph was already on the scenedar from its 2008 debut, Condemned Cathedral, brought to us by Razorback. Without going into detail on that release (it ruled), I'll say that it created considerable anticipation for this year's effort.

    What you need to understand about Decrepitaph is that it was originally Elektrokutioner's solo project, so for all intents and purposes, consider the band to be his. As you may have judged by his being in eighty-six bands, he's something of a workaholic and, like most workaholics, he has a palpable no-bullshit sense about the way he does things. How palpable, you ask?

    "It Shrieks From Below," the album opener, prefaces the album with a sample from some horror film I predictably don't recognize. Once some vagrant who is apparently dead says "...and we can't rest...until...you...die!" the singularly most crushing opening informs the listener immediately of what he should be expecting—death metal of such a bold, brawny, stripped down variety that nothing purer can exist, and if it does, it cannot occupy the mind when this album is playing. An acutely malevolent atmosphere is immediately established by this opening alone, and the band carries it handily throughout all nine tracks.

    This album is a paragon of the genre.


    Band preempts creative decay by recording full-length demo

    On this band's MySpace, there are pictures of its members in the studio—presumably in the process of recording this album. In those pictures exist such atrocities as Pantera posters and The Haunted shirts, along with an utterly awful video, several distasteful concert photos (a few feature what is apparently a "guest vocalist" on stage with them, assuming "guest vocalist" isn't a mistranslation of "baleen feeder"), and other unmentionables.

    If it were not for these facts, I'd think Intestinal a perfect band.

    Having listened extensively to this album, I still don't fully understand how there exist no previous efforts. Not a single second of this album is wasted, something that most bands with four or five releases behind them can't manage—and the riffs. With the production being what it is, the guitars are like some enormous pair of riff-beasts, crunching out D and D accessories hard and frequently enough to perfectly engender the band's earnest take on their morbid subject matter.

    Really, I have to consider the fact that the songs on this album average at around three minutes, and that there are more memorable, painfully good riffs per minute than I've experienced on a death metal album in years. Even the blatantly advertised breakdown in "Bloodspatter" doesn't leave the virulent tang of the last decade in one's mouth, and the triumphant "Dead Raped Forever" may be the best album ender since "Into the Void."

    More than the confidence of Decrepitaph, more than the attitude of Bastard Priest, more than the skill of Begrime Exemious, this album by this band dominantly epitomizes the new supremacy of death metal. Posterity will look to Intestinal when reminiscing about the brilliance of death metal in the year 2010, and will remember Human Harvest as its album of the year.

    Before you comment, read the following FAQs.

    01 · Where the fuck is Witchrist/Undergang/some other band who rules?

    It was with immense regret that I excluded Witchrist from this list when I realized, after a third or fourth listen, that the base genre of the Beheaded Ouroboros album is black metal. Yes, there is more than enough death in there for people to reasonably include them in a list like this, but I had to draw a line somewhere.

    Undergang's Indhentet af Døden, which I also wanted to put on this list, was originally released in 2009. The vinyl release of 2010 with that glorious album art was a re-release, which handily disqualifies it.

    Neither of these decisions were made lightly.

    02 · Where is Stench/Acid Witch/Cemetary Urn?

    Somewhere south of tenth place.

    03 · If you could have included EPs or demos, which ones would you have picked?

    Nothing you haven't seen before.

    Burial Invocation - [EP] Rituals of the Grotesque
    Decapitation - [Demo] Undead Carnage
    Grave Miasma - [EP] Realm of Evoked Doom
    Grave Upheaval - [Demo] Grave Upheaval
    Innumerable Forms - [EP] Dark Worship
    Miasmal - [EP] Miasmal (though I liked the 2008 demo much better)
    Morbus Chron - [Demo] Splendour of Disease
    Swallowed - [EP] Swallowed (though I liked the 2008 demo better)
    Undead Creep - [Demo] Undead Creep

    04 · You missed Grave Ritual's LP, you fucking scrub!

    I did, man. I couldn't find it anywhere, along with these others.

    Herpes - [Demo] Doomsday
    Odinn - Despair
    Ominosity - [Demo] The Frozen Throne

    There were more, but I can't remember them—and really, I can't complain about that. I realize that lately, it's common to emerge at the end of a year with more good releases than you can reliably find and hear, but this really was not always the case. I'm glad to be able to experience this.

    It's been a good year. Here's to the next one.