Skip to main content

Charnel Altar – Demo


Charnel Altar – Demo
January 2019 – Unsigned



Charnel Altar has been on my list for a month, and I assume has caught the eye of both Blood Harvest Records and Dark Descent Records. A thick, heavy slab of a demo, proving once again that the Aussie underground scene easily rivals legends like Florida. With a singer reminiscent of Ethan McCarthy (Primitive Man, Vermin Womb), a guitar tone that could grind stone to dust and melodies evil enough to frighten the devil, Charnel Altar only has to put out a full-length to grow a cult following from the dirty death metal audience.

If you've heard anything put out by Blood Harvest or Dark Descent, you know the one trope of the genre that's left out – blistering speed. Mid-tempo at best, the demo sometimes flirts with death/doom, most notably during Acephalic Worms, a dirge of the damned worthy of being played in death row. The muffled mix reinforces the whole dirty, underground aesthetic – kick drums sound like the feel of being punched in the face, and the riffs might as well have been recorded in the hellish landscape they evoke, while bass slides emphasize the insanity. When there's only so much one can say about composition in such a record, the small details are where it counts.

The people at Resonance Sound Studios, responsible for mastering the demo, are no greenhorns. Having worked for Profound Lore, Dark Descent and Redefining Darkness, they've almost set a path for Charnel Altar, soon to be joining the big boys club – after all, they passed their initiation with flying colours – blood, sweat and tears. The cover art is fitting as well, a lumbering mass of dripping flesh, hanging from bone in the most sickening way.

Comments

Popular posts from this blog

Grime - Live

Grime Live – Oct. 2017 The air is heavy, the lights are dim, and the conversations skittle away, hiding in the corners as Grime takes to the stage. Eyes up and hair down, I knew we were in for something good. Grime, the italian sludge act, released their first album in 2013 on the well-known Mordgrimm records. They might be the best-named band I can think of – the unclean buzz of the strings and damp mix of instruments give off a filthy, pock-marked sound, the kind you'd hear from scraping a sewer floor. I didn't know of them until their 2015 record, Circle of Molesters, but they're the kind of band who can do no wrong. The first note hit, and the bass shook me in unholy ways. After staggering a few steps back, I looked up at the stage and saw some of the best lighting since Messuggah. A white backdrop, searchlight-style movement carving the silhouettes of Grime into my retina. Marco, lead guitar, was spectacular in his theatrics. Doubling over in rage and p...

Five the Hierophant – Over Phlegeton

Five the Hierophant – Over Phlegeton Dark Essence Records – 2017 There's a rare breed of album which instantly becomes a cult classic, and I can confidently say Over Phlegeton is one of them. Experimental, weird, bizarre, none of these words come close to describing just how extraordinary and interesting this record is. If I had to draw parallels with another band, I'd say it's a heavier, more mature version of Mamaleek, with many similar elements such as the ethnic percussions or non-traditional scales, but with a much darker visage and more detailed composition. There have been incredible avant-garde metal albums using unconventional instruments, but none have been so tactfully used as the saxophone is on Over Phlegeton. Played as a full instrument and not a token nod to some jazzy experimentation, Five the Hierophant explore the extremeties of what the sax can do – from screaming leads floating above the guitars to wailing voices in the wind, passing by hear...

Analepsy – Atrocities from Beyond

When I say slam, people usually think of the Russian scene, often citing ultra-heavyweights Abominable Putridity. Well, it turns out Portugal is also amazing at mid-tempo grooving. Their first release, Dehumanization by Supremacy, was an exceptional debut from any point of view. The production was spot-on, the songs had great flow, and the slams were goddamn heavy. The vocals were arguably the least impressive, mainly because there was so little variety – which is something given that we’re talking about brutal death metal here. On Atrocities from Beyond, the man behind the mic is replaced by the lead guitarist, Diogo Santana, and this man’s range is far superior – there are some nice mid-ranged growls mixed and that really give the gutturals punch by contrast. They’ve hired backup on a couple of songs, including the legendary Larry Wang from Coprocephalic, who’s always a welcome addition to any album. It’s great to hear how the songwriting grew between the two records. The first ...