Kataklysm and Six Feet Under with Wormhole

Born in 1992 from the cold winds of Montreal, Québec, Canada comes one of the country’s top extreme musical exports to date: KATAKLYSM. Relentlessness and a hard work ethic have made KATAKLYSM a household name in the extreme metal genre in addition to their overwhelmingly positive reputation of fan-friendliness. With a career spanning over 20 years, KATAKLYSM is a leading force in the most brutal & powerful genre in heavy metal and has conquered territories such as Europe, North & South America, Australia, and Asia while recently becoming the first Canadian metal band to ever play South Africa.

KATAKLYSM’s 2013 studio album, Waiting For The End To Come, experienced worldwide success in terms of album sales and touring. Around the globe, the band played to full houses and paved new in-roads into Brazil, Japan, and South Africa where they played to their native fan bases for the very first time. That same year, KATAKLYSM won the “Metal Band of the Year” Award at the renowned Indie Awards ceremony in Ontario, Canada and soon after, was nominated in the “Best Metal/Hard Album of the Year” category at the prestigious Juno Awards.

kataklysm.ca

From the opening moments of “Know-Nothing Ingrate,” which kicks off Killing for Revenge, it’s immediately clear that Six Feet Under focused their energies into something that’s as brutal, lyrically visceral and musically dazzling as one would hope for from the ground-breaking Tampa-bred death metal lineup on their 14th studio album.

Killing for Revenge, a gnarly beast of a record that’s not for the faint-hearted, dishes up nightmare-inducing imagery courtesy of frontman Chris Barnes via the vocalist’s trademark guttural vocals. Both the album title and darkly detailed red-hued album cover by artist Vince Locke are perfect containers for the brutality within. “I chose the title Killing for Revenge after we completed writing and noticed that all the lyrics and storylines had a common theme of revenge. Revenge by human or revenge by nature-or both in the song “Bestial Savagery,” which describes the destructive paths of man-made storms,” Barnes says. “The album title describes the flow of the stories within the lyrics perfectly.”

sixfeetunder.bandcamp.com

When you invent your own genre, you can make the rules, and in space, no one can correct your math. If Wormhole’s excellent The Weakest Among Us was 50% tech death and 50% slamming brutal death metal, their Season of Mist debut is a veritable leveling up of the Baltimore-based act’s trademark “tech slam.” It’s the kind of record that can scramble your brain and give your neck a nice chiropractic workout; Almost Human feels like the future of extreme metal, dropped down from either outer space or delivered by Nintendo cartridge (more on that later).

So, what the hell exactly is “tech slam?” Well, the gleefully amorphous and unholy term comes from an ethos that guitarists Sanil “Noni” Kumar and Sanjay Kumar discovered and perfected over (probably) thousands of hours of Metroid and Doom games, as well as, you know, actual musical mastery. Almost Human, out September 22, 2023, is more powerful, more agile, and more confounding for pie-chart-enthusiasts than anything else that came before it. The sequel is always bigger, darker, and in this case, covered in much more pixelated space horror viscera. My Wormholio calculator puts their sound at 91% tech and 89% slam, with an increase in awesome stats somewhere in the 420% range. There’s also a clear emphasis on amplifying their dissonant death influence, the kind of eerie melodies that feel like being stomped on by Samus.

wormholemetal.bandcamp.com

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