MUTILATION RITES
Hailing from NYC, Mutilation Rites is an ever-evolving black metal band, taking influences from thrash, crust, doom, and death metal. The band whose subject matter touches on depression, human suffering, the apocalypse, and despair, was conceived by guitarist Michael Dimmitt and drummer Justin Ennis in 2009 and since then the quartet has put out two singles, two eps, and two full lengths on Gilead Media, Prosthetic Records and Forcefield Records, and is currently working on its third full length to be put out by Gilead Media in the U.S. and Argento Records in Europe in late 2016. Having replaced Justin with the ferocity of Tyler Coburn from Yautja’s drumming, the band has reinvented its sound. The new material is faster, less doomy, more death metal-influenced and overall more relentless and brutal, a noticeable deviation from the previous Mutilation Rites sound. Add the dual vocal attack of bassist Ryan Jones’s throat graveling death metal vocals and second guitarist George Paul’s tortured black metal howls bedded on top black and death metal riffs it will be their most brutal release to date. Mutilation Rites has toured tirelessly around the US with acts such as Full of Hell, Skeletonwitch, Inter Arma, Black Breath and played SXSW, Maryland Death Fest (with Immolation and Diocletian), Berzerker Fest, Burning Light Fest (Portugal), New England Hardcore Metal Fest (with Anthrax and Exodus), Messe de Morts Festival (Montreal), Death on the Vine (with Napalm Death and Cannibal Corpse), two Gilead Media Fests, the 2016 Migration Fest and did one previous European tour with Hierophant.
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WIEGEDOOD
De Doden Hebben het Goed is Wiegedood’s debut album, but we can hardly call this a debuting band. The band members have already proven their worth in other acts like Amenra, Oathbreaker, Hessian, Rise and Fall… This is surely an interesting gathering of musicians that immediately raises high expectations. And they deliver. Big time. Against all expectations, the result of this collaboration has nothing to do with post metal, sludge or hardcore. In stead, Wiegedood treats us to a relentless onslaught of atmospheric black metal. The music might be categorized in vain of the cascadian black metal wave from the US, but they bring their European twist into the mix. The title De Doden Hebben het Goed covers the album perfectly: it’s a very bleak take on extreme metal music, but never loses touch with the band members’ other projects.

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