ALBUM STREAM: Misery Index – Coffin Up The Nails

New album stream from Misery Index, out now on Bandcamp!

Misery Index – “Coffin Up The Nails”:

AUDIO: Interview With Bill Steer From Carcass

From :


CARCASS’s BILL STEER Says 1996’s ‘Swansong’ Was ‘Roundly Despised’ Upon Its Release


Andrew McKaysmith of the “Scars And Guitars” podcast recently interviewed guitarist Bill Steer of British extreme metal pioneers CARCASS. You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On whether he is aware that CARCASS has such a tremendous influence on extreme metal:

Bill: “To a degree, I guess we do. I don’t think it’s healthy to get too hung up on things about that. Every personal band member who claims you’ve been an influence, there’s always someone else who is not aware of your stuff. Metal is more diverse than it’s ever been and there are countless subgenres. In our little corner, yes, we’ve had an impact and that’s fantastic.”

On looking back on CARCASS‘s career:

Bill: “You start to make peace with all the things that bothered you from the past. There’s enough distance — if it’s a thing that used to bother you, it becomes harmless. That’s one of the good things about getting older, I guess. I remember with each one of those records from that initial run of albums we did from the late ’80s through to the mid-’90s, with each record, there were elements that we weren’t particularly happy with. Sometimes you get quite bent out of shape about that stuff. You can’t really feel that way now. You kind of look fondly on all of them after a period of time.”

On whether he feels “vindicated” by the fact their 1993 album “Heartwork” has emerged as a classic in melodic death metal circles:

Bill: “I guess so. I mean, I think, I wouldn’t want to use the word ‘controversial’ because that’s maybe too strong, but if you’re looking at say, ‘Heartwork’, which I think is album number four and that’s from around ’93, then the next one, the album that became ‘Swansong’, which we did in ’95, then I think that actually surfaced after we broke up in ’96, those are the two albums that get the most hotly debated. Obviously, ‘Heartwork’ is the most lauded, I suppose. I guess it’s sold the best out of all those records, but around the time we did it, it was very divisive because I think maybe people felt the production was too good and we’d slowed down a little bit too much for their liking. We’re still playing fast, but there was a variation going on and there were some tunes that were in the medium tempo zone and I think that was too much for some folk. We were aware that was going to happen. It just felt good for us to play that music. Yeah, down the line it was great when that album started to achieve some kind of following and become rated by people. That was lovely. It just took a while. It wasn’t a particularly popular record at the time it was released.”

On whether he thinks it was a good thing metal endured some hard times in the mid-to-late 1990s so it could emerge all the better the following decade:

Bill: “It’s very hard to analyze something like that. I wouldn’t be best placed to do so. I would say that something like ‘Heartwork’ was definitely not the right record for its time judging by the response it got. As I said, later on, it became fairly popular and that was really nice for us. The next record [‘Swansong’], the band was history by the time it came out, but I gather that was pretty much roundly despised. It had an even longer incubation period where eventually some people came to grips with it. I have met people who favor that one out of all of our records. In the broader sense, I don’t know. Once we had broken up, metal just seemed to become bigger than ever. By the time we reformed, for want a better term, the ‘scene’ was so different. I just didn’t recognize many elements in it. There was just a huge business framework around the whole thing that hadn’t been there before. You could say all things must past; change is inevitable. There were some really good sides to it, too. It just took a while for me to get used to it because I had been out of the loop. I had been playing different music in different places. I wasn’t used to doing huge festivals to massive metal audiences at that stage.”

CARCASS’s new studio album, “Torn Arteries”, is due August 7 via Nuclear Blast. This past December, the band released the digital single “Under The Scalpel Blade”, which will also appear on the new LP.

CARCASS’s 2013 comeback album, “Surgical Steel”, sold around 8,500 copies in the United States in its first week of release to debut at position No. 41 on the Billboard 200 chart.



INTERVIEW: Triumph Of Death

Tom G. Warrior celebrates Hellhammer with “Triumph Of Death” lineup performing classic Hellhammer “cover songs” live.


Abnormality – Sociopathic Constructs Full Album Stream

Abnormality – Sociopathic Constructs official full album stream from Metal Blade Records:





Mallika Sundaramurthy: Vocals
Jeremy Henry: Guitar
Sam Kirsch: Guitar
Josh Staples: Bass
Jay Blaisdell: Drums

Sociopathic Constructs serves to further cement Abnormality’s place at the cutting edge of savage ultra-technical death metal. With the follow up to 2016’s Mechanisms Of Omniscience, the Marlborough, Massachusetts quintet have stepped up their game across the board, making for a record that is as violent, complex and thought provoking as any you will hear in 2019, and the band were not afraid to explore and mix things up. “I think this record we felt free enough to just go where we wanted to within a song,” states guitarist Jeremy Henry. “We had no qualms with switching styles and approaches from riff to riff. To have a whole section grinding away and then just switch gears, hit the brakes and drop a slow, old school Morbid Angel warship groove in there. We felt free to follow our instincts, and just let our influences shine through.”

With Mechanisms of Omniscience opening the door for the band to tour with Suffocation, Napalm Death, The Black Dahlia Murder, Pig Destroyer, and Misery Index, their profile has risen dramatically between records. “We learned so much from the past few years of touring, including how to handle adversity. In turn, we have matured and grown as musicians and people,” declares vocalist Mallika Sundaramurthy. However, the writing did not stop, with drummer/lyricist Jay Blaisdell penning lyrics for the album’s successor almost as soon as it was finished, never struggling to find inspiration. “With a lot of lyrics already written, the structures of a lot of songs were written into them. We’ve done that before but not as much as we did on this record, and I think it really paid off this time around,” says Blaisdell. The glorious, attacking-from-all-fronts near-chaos of their song structures is a hallmark of the band, switching up tempos and timings, unleashing dizzying riffs and pushing things to their extremes throughout, never letting the listener get too comfortable, yet never losing hold of that core vision that holds everything together. Only brief, eerie interlude “Aeternum” lets the listener off the hook, the remainder of the record an all out assault, but one with a great deal of variety. “A Seething Perversion”, for instance, opens with a monstrous, stabbing groove that perfectly plays off against the more rampant violence surrounding it, while a militaristic feel creeps into passages of “Kakistocracy”, and a droning evil works into the closing passages of “Curb Stomp”, each track having a strong individual identity. The decimating vocals of Sundaramurthy also make for an integral facet – her monstrous roar the perfect accompaniment to music so merciless – and the solos that scythe through the tumult are a large part of what makes the record so compelling, with no parts included for the sake of it.

When it comes to finding lyrical inspiration, Blaisdell and Sundaramurthy never have to look far. “The world we live in is a fucking mental hospital. The true nature of our reality is something that I’m obsessed with, so it will always come out in my lyrics,” Blaisdell says, asserting that the title itself stems from the ability to read between the lines and decipher the information that is fed to us daily as “truth”. “It’s about a constant search for what is real and what is disinformation. It’s about realizing that many of our leaders, the people in power, are actually sociopaths. It’s essentially referencing the many twisted and immoral acts that have been carried out and painted as something completely different. Most of the songs are individual stories that fit within this overarching theme.” Disseminating the news and whatever lurks behind it sees the lyrics go in numerous directions, with “Monarch Alpha” in fact a sequel to “Monarch Omega” from their debut full-length Contaminating the Hive Mind (2012), both songs about MK Ultra, or the concept of mind control being used to create assassins. “The former dealt more with trauma-induced mind control, ‘Monarch Alpha’ is essentially about the next step up in the program. It’s the more technically evolved, much scarier version of creating assassins.” Following a different tangent, Blaisdell stresses that “A Catastrophic And Catalyzing Event” is a song he has always wanted to write, and is essentially his own personal theory of what really happened on September 11th 2001. “Back in 2005 I accidentally saw a video online that instantly convinced me that the official story of 9/11 is a lie. It was a huge awakening for me. My outrage and shock led me down a never-ending pursuit for the truth. It took me roughly six or seven years before I could figure out my own theory of how it actually went down, based on what I know did and didn’t happen. And it was something that I needed to do for my own personal sanity.”

The album was tracked primarily at The Brick HitHouse in Hyannis, Massachusetts with producers Peter Rutcho (Revocation, Soul Remnants) and Shane Frisby (Becoming The Archetype, Bury Your Dead) with vocals produced by Zdenek Sikyr at Studio Hostivar in Prague. Having worked with Rutcho since 2010, it was a painless, professional process, the band also bringing in Chaney Crabb of Entheos to add a guest vocal to the devastating “Penance”. “‘Sociopathic Constructs’ is the result of tons of hard work and shows the progress we have made as a band since ‘Mechanisms’,” asserts Sundaramurthy. “We feel the time is now for such an album, the brutality perfectly reflects the darkness, violence, and harsh reality of our world.”

ALBUM STREAM: Ulver – Drone Activity

New 2019 album from Norweigan Black Metal band Ulver from Oslo, Norway.

Formed in Oslo, Norway Ulver (wolves) are a Black Metal band from the early days of the Norwegian Black Metal scene. The band is an experimental musical group founded by vocalist Kristoffer Rygg in 1993 during the days of the Norwegian “Black Circle” with bands such and Mayhem, Emperor, Enthroned, Dark Throne and Thorns.

Ulver have sold over 500,000 albums and have been nominated for two Grammy awards in Norway.


AUDIO: Entombed – Sinners Bleed Live

Entombed – Sinners Bleed from their upcoming live album “Live Clandestine”:



Alex Hellid – Guitar

Uffe Cederlund – Guitar

Nicke Andersson – Drums

Robert Andersson – Vocals

Edvin Aftonfal – Bass


AUDIO: Collapse – I Don’t Care What You Say – Single

Collapse Official Album Playlist.

Collapse – I Don’t Care What You Say – Vinyl Single:



Collapse Bio:

Collapse is a Death Metal band from Halifax, Nova Scotia Canada. Our first album Destroying by Design was released on Great White North Records / The End Records /Sonic Unyon in 2006. Shortly after the albums release the Great White North Records end closed and the album  went out of print but is still in circulation and is available in stores on the internet.

The second Collapse album was a demo ep titled Mechanisms of Oppression recorded in 2007 and released in 2008 after the release of Destroying by Design. The demo was originally intended to be sent to labels after Great White North Records closed and our distribution with The End Records / Sonic Unyon ended. The original format of the demo ep was supposed to be 100 copies in a clear poly bag, hand numbered with a sticker of the cover artwork included inside and was to be sent to record labels but was cancelled. The artwork and lyric sheet images for this release are floating around on the internet but this release was unfortunately cancelled and is not available. The demo ep was then released in jewel case format and not sent to labels and is also still available for sale on the internet, after this the demo album was scrapped.

After this point we had several offers from other labels and people wanting to work with us on our first full length album Collapse-Collapse  but we decided to not sign with any other labels and release the album’s ourselves on our own label Forward Regression Records. Releasing the albums on a different label would have put us back in the same situation that we were in with Great White North / The End Records /Sonic Unyon and although our albums would have been available at the time in stores like the deal we had through The End Records / Sonic Unyon for Destroying by Design we would have been limited in our options for future reissues of the albums as we would have been under contract with other labels and distribution companies for the releases. Plus, there was a large financial expense we would have had to put out to release the albums there and we would have lost money on the initial releases.

Instead we decided to hang on to the music rights of our albums and not release them through an outside label so that we could do what we want with them for future reissues and not be under contract to an outside label. This way we have maintained the rights to our albums and can do whatever we want with our music and are releasing them through our own label Forward Regression Records.

What this means is that our albums are not in the same stores as other Death Metal bands like our first album Destroying by Design currently is and our second demo album Mechanisms of Oppression would have been but they are still available for sale in other places on the internet.

In 2011 we reissued our first album Destroying by Design which was remastered with bonus tracks on Forward Regression Records and also re-recorded and released the ep Mechanisms of Oppression which is the official version on Forward Regression Records. We also released our first full length album Collapse-Collapse and our second double full length album Sustainability all on Forward Regression.

These four albums on Forward Regression Destroying by Design, Mechanisms of Oppression, Collapse and Sustainability were also released on Vinyl lp in 2015 on Forward Regression Records.

Currently the CD and LP versions of these releases are out of print.

Between 2012 and 2016 Collapse made several recording sessions during the writing for the new albums Say No To World Peace, Corporate Sanctions and The Fall of America which will be the Fourth Full Length Album and is currently in pre-production.

The third full length album Say No to World Peace and Ep Corporate Sanctions are currently in the final stages of production and will be released very soon in the near future on Forward Regression Records.

Material from the other recording sessions from 2012-2016 never made it to the current albums in production but we may release the material as a double compilation album in the future. The material includes songs from the writing process of our new albums that were scrapped and also material that we thought might end up being ep’s and 7 inches but we were too busy with the new albums and never released it. The recording sessions also include a re-recording of the original Destroying by Design album with our current line up. So we may be putting this out on a Two CD Compilation instead which will be out no sooner that late 2018 or in 2019.

All these albums will be released on our own label Forward Regression Records.

When the new albums are released soon in the near future they will be put out as free digital versions first and then will be printed in early 2018 and available for purchase at that time.

The first four releases Destroying by Design, Mechanisms of Oppression, Collapse and Sustainability are currently out of print and available only as a free digital download but will be be printed and reissued on Compact Disc hopefully in the first half of 2018.  No date set yet for vinyl lp releases or reissues on vinyl lp of the first four albums.

Collapse was formed by Lead Guitarist and Vocalist Jason MacKenize and currently bass and drums are being done by Riley Davis and Anderson Richards from the California band Infinitency who will also have their first album out soon “Worshipping the Throne of Infinitency” and are also releasing a two song CD single called “Enslavement of the Holy Angels” also out soon on Forward Regression Records.

Prior to Collapse Jason MacKenzie has done demos  with ex-Inner Thought  (Dwell / Witchhunt Records)  whose members have played in Lethal Presence which was members of Sacrifice as well as  Slaughter / Strappado  from Toronto, Canada.

Collapse is:

Jason MacKenzie – Guitar/Vocals

Riley Davis – Bass

Anderson Richards – Drums

AUDIO: Decibel Flexi – Pig Destroyer – The Cavalry

New Decibel Magazine flexi disc featuring Pig Destroyer – The Cavalry.


Hear Exclusive New Pig Destroyer Song “The Cavalry” Via Decibel Flexi Series

“The music for ‘The Cavalry’ was written as an explicit tribute to [late Terrorizer/Napalm Death guitarist] Jesse Pintado during the month of August 2018,” says Pig Destroyer axeman Scott Hull, “specifically after listening to Harmony Corruption and World Downfall on repeat. We are proud to give this track to our hermanos over at Decibel and finally contribute to the Flexi Series as the 100th entry.”

You can jam “The Cavalry” in all its grinding and thrashing glory below, but if you want one for yourself, don’t wait, because an extremely limited number of issues containing our 100th installment in the Decibel Flexi Series are available here.



REVIEW: The Great Kat – Czardas For Violin And Piano

Czardas For Violin and Piano by The Great Kat is a one song classical violin CD Single. This is not a Heavy Metal CD Single, it is a piano and violin CD Single of the classical composition “Czardas For Violin and Piano”, performed on violin by The Great Kat.

The Great Kat, Katherine Thomas, is no doubt one of the Top Heavy Metal Guitarists of all time and also known as one of the fastest guitar shredders of all time and is the fastest female guitarist in music.

The Great Kat plays a form of Speed and Thrash Metal mixed with Classical Music Compositions on the Guitar and on the Violin, this CD Single is a classical violin composition only.

Katherine Thomas is a well known classical violin virtuoso and is a graduate of Julliard and has won the Artists International Competition on Violin and the Carnegie Recital Hall Violin Soloist competition.

Visit the Great Kat store at for ordering information for the CD Single and you can also buy other personalized autographed merchandise from the Great Kat including CD’s, Albums, Photos, Posters and more.

Rating: 10/10

Metallica – Helping Hands New Live Album Out

Metallica – “Helpings Hands” released this month is the new acoustic live album from Metallica and is a mix of acoustic versions of Metallica songs as well as acoustic cover songs of artists like Nazareth, Bob Seger and Deep Purple.

This is great live Metallica album and guaranteed to be a 9+ out of 10 for any Metallica fan. The record features great acoustic versions of Metallica songs like Nothing Else Matters, The Unforgiven and Bleeding Me.

The record also has alternate acoustic versions of songs like Disposable Hero’s which may not appeal to all fans which sound like a different version of the same song, there is a somewhat alternate version of The Four Horsemen which is a stand out track on this record.

The acoustic version of The Four Horsemen is probably one of the best songs on the album and gives the song a real mainstream feel to it with some alternate sounding sections.

This is a guaranteed favorite album in your Metallica music collection, get one today!

Collapse – Mechanisms Of Oppression – Album Stream

Collapse – Mechansims Of Oppression-2011 – Official Album Stream on

Collapse line up:

Jason MacKenzie  – Lead Guitar & Vocals

Riley Davis – Bass Guitar

Anderson Richards – Drums

Collapse - Mechanisms Of Oppression

Collapse – Mechanisms Of Oppression

AUDIO: Outre-Tombe – Rongé par les Miasmes – Quebec Death Metal


New Song from Quebec Death Metal band Outre-Tombe – “Rongé par les Miasmes” from their new album “Nécrovortex” out October 17.

One of the best current Death Metal Bands from Quebec with a Swedish Death Metal Sound similar to Entombed and Dismember and a vocal style similar to Florida’s Death with Dismember influences.

Also check out their 2015 album “Répurgation” which is streaming on their YouTube Channel.

One of the top Death Metal Bands from Quebec today.


Outre-Tomb – Rongé par les Miasmes:





Outre-Tomb – Répurgation – Full Album: