Tag Archives: corrupt moral altar

Year End 2017: Best Albums Part 2

Barrabus – Barrabus

“Barrabus’ debut album is a fantastically weird collection of songs that don’t outstay their welcome. It’s all over in 29 minutes and rarely gives you a moment to breath. This is a noisy, sludgy punk album that isn’t too interested in showing any restraint. This album has certainly been a long time coming considering Barrabus’ last release was a demo in 2006, but its arrival is much like Paul Catten himself; unexpected and unrelenting. Long may he reign.”

Click here to read the full review.

Corrupt Moral Altar – Eunoia

“Corrupt Moral Altar are one of the most consistent and extremely exciting bands in heavy music and Eunoia has cemented their position at the forefront of UK grindcore. The band have so many great riffs to share that they end up making a record that sounds like a grindcore compilation but somehow only made by one band. Despite almost exclusively playing as fast as possible, the band manage to sprinkle their music with interesting little moments like the hardcore punk introduction to Burning Bridges and Burning Homes or the enormous, swinging, mosh-pit groove in Rat King. Eunoia is an album that’s almost euphoric in its consistent delivery of grindcore classics for a new generation.”

Click here to read the full review.

Alpha Male Tea Party – Health

If there was one record I’d be considering for ‘Album of the Year’, then this is about as close to it as I can imagine. Alpha Male Tea Party’s Health might look like it has a pretentious album cover and a load of nonsense song titles that wouldn’t look out of place on an early 2000s emo record, but all that is doing is hiding the fact that it houses a gargantuan slab of the best riffs you’ve ever heard. Alpha Male Tea Party blend bright, sugary post rock guitar work with some of the weightiest grooves known to man and they create one of the most satisfyingly pure rock records of the year. Essential listening.

Atragon – I, Necromancer

“It may have taken a long time getting here but Atragon’s I, Necromancer is a gleefully gargantuan doom record that revels in its simplicity. Atragon aren’t exactly reinventing the wheel here, but if big riffs and even bigger crescendos are something that you get your rocks off to then Atragon certainly have you covered.”

Click here to read the full review.

Esprit D’Air – Constellations

“Esprit D’Air’s Constellations is a wonderfully accomplished debut album that’s full of massive anthems that stand toe-to-toe with the more established J-metal acts. The band also manages to add enough of their own love for progressive music and post rock to make the album stand on its own merits. If you like anthemic, sing-a-long pop metal full of massive riffs and soaring vocal melodies then you can certainly rely on Esprit D’Air to become your new favourite band.”

Click here to read the full review.

Watchcries – Wraith

Do you like metal? Well Watchcries’ Wraith has all of it. All the metal. It’s all here. Wraith is the sound of a band blending death metal, doom, black metal and hardcore together to create the unholiest racket possible. If last year’s EP was a statement of intent, then Wraith is the record that comes to your house and threatens to stab you if you don’t bang your head. An extremely dense record that is entirely devoid of any bullshit, Watchcries’ Wraith is a dream release if you like extreme music.

Glarus – Then and When

Sacha Zucconi’s Glarus expanded from being a solo project to having a full line-up and along with the personnel change came their debut album Then and When. The ex-Hammers man expands his dissonant take on sludge metal-infused hardcore and sprinkles a light dusting of dreamy melody over everything to make a record that is truly massive in scale. A record this good shouldn’t be hidden in the UK toilet circuit. Give it a listen and shout about it to everyone.

Jamie Lenman – Devolver

Unlike Lenman’s previous solo effort Muscle Memory, Devolver crams all the artist’s influences into one cohesive record instead of splitting them into 2 discs. What you get is an album that effortlessly swings between low-fi, indie rock coupled with electronics, to messy and bombastic grunge rock and even industrial metal. Jamie Lenman is fast becoming one of the UK’s auteurs of rock and he deserves to have a solo career as wild and varied as progressive rock greats like Devin Townsend.

Regurgitate Life – Obliteration of the Self

“Obliteration of the Self is a natural step forward for Regurgitate Life and the addition of live drums has made this a more cohesive package as a result. Urwin has admitted in the past that his programmed drum patterns are often a little unruly and near impossible for a real drummer to perform, so having a force like Daryl Best in the band has had such a positive impact on the music. Obliteration of the Self is a brilliant death metal record that showcases two musicians firing on all cylinders and is a “must listen” for anyone who can appreciate music this unrelenting.”

Click here to read the full review.


Review: Corrupt Moral Altar’s Eunoia

It’s been 3 years since Corrupt Moral Altar’s debut album Mechanical Tides; an album that creaks under the sheer weight of influences it crams into its confines. With the band’s sophomore effort Eunoia, the band have seen fit to distil their song-writing into its raw components and what we get is a grindcore album that manages to constantly push the boundaries of what it means to be heavy and it’s scarily consistent for its entire run-time.

Despite generally dealing in the sort of metal that likes to make a racket and get the job done very quickly, Corrupt Moral Altar do a fantastic job of writing tons of memorable riffs and barely revisit them over the course of a single song. Their music is fast and punishing; riffs come and go with complete abandon, and just when you’ve got your head banging to a tasty groove, the band have jumped into a sequence of blast-beats or a disgustingly heavy section of double-bass drumming.

What really helps Corrupt Moral Altar from losing all semblance of melody and musicianship is they’ve clearly got a taste for a nice bit of death metal. Songs like Night Chant and Survivor’s Guilt benefit from the sort of structure that death metal brings and it allows the band to push those riffs forward before beating you about the head with another lightning-fast grindcore segment. This results in Eunoia becoming an uncompromising 43 minutes that never puts a foot wrong and never finds itself delivering a song that is merely there to pad out the run-time.

The sheer amount of riffs on Eunoia shouldn’t be possible. The songs are all fairly progressive and always pushing forward at an incredible pace, so it’s nothing short of a miracle that the album manages to maintain its intensity for the entirety of its run-time. It can be quite an exhausting listen, but if you’ve been looking for a grindcore album that never lets up then you’ve absolutely found it with Eunoia.

Corrupt Moral Altar are one of the most consistent and extremely exciting bands in heavy music and Eunoia has cemented their position at the forefront of UK grindcore. The band have so many great riffs to share that they end up making a record that sounds like a grindcore compilation but somehow only made by one band. Despite almost exclusively playing as fast as possible, the band manage to sprinkle their music with interesting little moments like the hardcore punk introduction to Burning Bridges and Burning Homes or the enormous, swinging, mosh-pit groove in Rat King. Eunoia is an album that’s almost euphoric in its consistent delivery of grindcore classics for a new generation.


Corrupt Moral Altar’s Eunoia is out now and available to download direct from the band.

Review: The Brood’s The Truth Behind

London-based grind-metallers The Brood have dropped one hell of a debut with The Truth Behind. This 33 minute monster sounds like Carcass battling it out with Hatebreed and it absolutely delivers a level of savagery fitting of that analogy.

Now this isn’t a particularly smart album and it was never going to be when it has such song titles as Barbie Voorhees, Free Range Meat and Mindfuck. The Brood have a very specific goal with their music and that is to make the heaviest, fastest metal imaginable. While it’s not exactly as creative as similar sounding crossover acts like Corrupt Moral Altar, The Brood’s song-writing is certainly effective and if you like grindcore then you’re certainly in for a treat.

The Brood’s music isn’t exactly for the faint of heart. We’ve got low-pitched, grunty screams throughout, a near-constant abuse of double-bass drumming and blast-beats and it’s all drenched in a healthy dose of blistering guitar work, full of chunky riffs and tremolo picking. Thankfully, The Brood have the chops to meld their noise into a cohesive package that moves exactly as you’d expect it to and lets you get your mosh on in a thoroughly satisfying way.

While most of the faster songs on The Truth Behind clock in at around 2 minutes, The Brood do manage to show that even when they’re making the loudest racket possible, they’ve got enough ideas in them that they can write some longer-form songs like Lobotomized, GIL and Mud Doll Factory. These tracks showcase more of a metallic hardcore sound that is flourished with elements of grindcore and it makes for the most varied and exciting songs on the album. The Brood might be a heavy band, but they certainly know exactly where to focus their anger with satisfying results.

The Truth Behind isn’t going to win many awards for originality and The Brood do run the risk of finding themselves lost in a sea of similar grind bands, but thankfully their song-writing is robust enough to carry their debut album for its entirety and it makes for one nasty beast of a record. The Truth Behind has enough solid grindcore barnstormers on it to deserve your attention and it’s a great starting point for a band certainly that have the capability to step things up a notch on their next release.


The Brood’s The Truth Behind is out now and can be bought on CD directly from the band’s Bigcartel page.

Year End: The Top 10 Best Albums of 2014


10) Trudger – Dormiveglia


What we said:

“Trudger’s Dormiveglia is a thick, multi-layered experience that gets better every time you listen to it. The band has grown tremendously since their debut EP and the song writing on Dormiveglia is absolutely top tier. This might be a challenging listen for heavy music fans and the band’s raucous fusion of sludge, doom, death and black metal might make for a bleak experience, but it’s one of the best bleak experiences you’re going to have for a while. Buy this record, light some candles and get moody.”

Read the full review by clicking here.

9) Goodtime Boys – Rain


What we said:

“Goodtime Boys have really hit their stride on Rain and it’s an album every post hardcore fan should consider owning. The music is still aggressive but it now flourishes into gorgeous melodies drenched in haunting atmosphere. 2014 has been a stunning year for post hardcore records with Vales delivering an equally excellent album and it’s about time we recognise Goodtime Boys in a similar light. Rain is an astonishing debut album that deserves your attention.”

Read the full review by clicking here.

8) All the Best Tapes – All the Best Tapes


What we said:

“All the Best Tapes have put together an extremely diverse and challenging record that cleverly drenches all the music’s elements in a huge helping of melody. Albums like this are proper once-in-a-lifetime experiences and nothing can prepare you for how utterly bonkers it all sounds while still sounding like a cohesive record. Well done All the Best Tapes and thanks for being so mind-bogglingly weird.”

Read the full review by clicking here.

7) Corrupt Moral Altar – Mechanical Tides

Corrupt Moral Altar - Mechanical Tides Front Cover HIRES

What we said:

“Corrupt Moral Altar have delivered one of the most amazing debut albums any metal band could hope to make. Mechanical Tides is a raucous, nasty bastard of a record that manages to take influences from as many areas of the metal spectrum it can and it fuses them into the band’s already brilliant sound with ease. It’s not often we get to experience an album that’s so magnificently loud yet diverse at the same time and Corrupt Moral Altar have made us wish this experience occurred more often.”

Read the full review by clicking here.

6) Mongol Horde – Mongol Horde


What we said:

“Regardless, this is an explosive debut by one of the weirdest bands in heavy music right now. Mongol Horde’s self-titled debut album is equal parts punk and groove and it’s presented as a series of surrealist stories told by Turner that give the band an identity of their own. Welcome back Frank; we’ve missed your unhinged side.”

Read the full review by clicking here.

5) Bad For Lazarus – Life’s a Carnival, Bang! Bang! Bang!


What we said:

“Regardless, this is a minor complaint on a near flawless album. Bad for Lazarus’ debut album may have been a long time coming but the five years the band have spent writing, recording and touring has changed them into a well-oiled yet raucous, blues rock machine. Life’s a Carnival, Bang! Bang! Bang! is loaded with infectious songs and there isn’t a minute of it that’s not worthy of your attention. Buy this album and tell your friends; Bad For Lazarus are coming to town.”

Read the full review by clicking here.

4) Alpha Male Tea Party – Droids

Alpha Male Tea Party - Droids - cover

What we said:

“This is an easy recommendation to make; you need Alpha Male Tea Party’s Droids in your life. This a wonderfully unique and riff-laden record that is loaded with catchy melodies. Despite the progressive nature of the band’s music, they manage to make it incredibly palatable and Droids is a considerable more enjoyable experience for it.”

Read the full review by clicking here.

3) Sunwølf – Beholden to Nothing and No One


What we said:

“Sunwølf’s Beholden to Nothing and No One is a gargantuan epic that traverses many genres but always feels focussed. A double album clocking in at an hour and 23 minutes might strike you as an impenetrable time investment but Beholden… never outstays its welcome. There’s a reason why this album is so long and it’s because it’s stuffed to the brim with interesting, thought-provoking music that’s always changing and always engaging. Sunwølf have written their masterpiece and it’s one of the most essential listening experiences of the year.”

Read the full review by clicking here.

2) Grand Collapse – Far From the Callous Crowd


What we said:

“Grand Collapse have put together a début album that I simply cannot listen to without the words ‘FUTURE CLASSIC’ coming into view. Far From The Callous Crowd is a no-nonsense shot of adrenaline and there isn’t a single moment that doesn’t sound like a cacophony of punk’s best riffs. I want more and I need it now.”

Read the full review by clicking here.

1) Marmozets – The Weird and Wonderful Marmozets


What we said:

“Marmozets have made an album that I would regard a classic had it been released in my youth. The fact that it’s being released now hopefully means that a whole new generation of kids will be introduced to post hardcore through what I regard an essential purchase for any fan of the genre. The Weird and Wonderful Marmozets is one of the best rock albums this year and if you’ve ever enjoyed a catchy rock number then you’ve just found your new favourite band.”

Read the full review by clicking here.

Review: Corrupt Moral Altar’s Mechanical Tides

Corrupt Moral Altar - Mechanical Tides Front Cover HIRES

Corrupt Moral Altar have come a very long way in such a short amount of time. The groove-ridden grindcore sound of the band’s previous EPs has now sprouted shoots that extend into genres like black metal, noise and doom to create the band’s debut album Mechanical Tides.

The black metal influences are instantly apparent in the opening track Father Tongue which is full of bleak and moody atmospherics. The band also deliver blast-beats by the bucket load. Then the first instance of electronic noise seeps into the band’s sound for Blood Harmony and the slower pace will put doom fans in a horrible yet comfortable spot. Then we’re back to the classic Corrupt Mortal Altar combo of groove and grindcore for Die Glocke and Line Check but even then we’re getting touches of thrash and death metal in those riffs courtesy of John Cooke.

The ride doesn’t let up here. Vocalist Chris Reese takes a step away from screaming for the hauntingly stripped down Admit Defeat. This level of diversity puts Mechanical Tides on a completely different level than Corrupt Moral Altar’s previous material and it’s a beautifully accomplished cacophony of noise.

What’s all the more impressive is just how well it all works together. Corrupt Moral Altar have always had a knack for writing a smashing riff or twelve but this time they managed to being that proficiency into areas that it hadn’t previously visited. The frequent divergences into slower tempos and dark atmospherics are fantastic additions that make listening to Mechanical Tides feel like a journey into the unknown instead of a simple collection of songs.

Special mention also has to be brought to the guitar because the filthy, Entombed-esque guitar tone smears the whole record in a wonderfully disgusting veneer that is complimented by the raw aggression of Tom Dring’s drum work. Every nasty, distorted imperfection is captured perfectly and the crash-heavy drumming just makes the whole experience even more chaotic. I can’t imagine listening to Mechanical Tides through the bright and almost robotic production that gets applied to things like tech metal. This album is a much better experience for all it’s harsh, wretched volatility.

Corrupt Moral Altar have delivered one of the most amazing debut albums any metal band could hope to make. Mechanical Tides is a raucous, nasty bastard of a record that manages to take influences from as many areas of the metal spectrum it can and it fuses them into the band’s already brilliant sound with ease. It’s not often we get to experience an album that’s so magnificently loud yet diverse at the same time and Corrupt Moral Altar have made us wish this experience occurred more often.


Corrupt Moral Altar’s Mechanical Tides is out now via Season of Mist.

Review: Corrupt Moral Altar’s Whiskey Sierra


The grindcore/groove metal lunacy of Corrupt Moral Altar returns for ‘Whiskey Sierra’; a new four track EP for fans of Confine, Oblivionized and War Wolf. The band have taken no time in churning out another slab of extreme metal after the release of their first EP ‘Luciferian Deathcult’ back in February and it’s amazing how quick the band have grown as songwriters in such a short space of time.

The big draw on this EP is the title track which adds a brilliantly welcome element to Corrupt Moral Altar’s sound: it’s catchy. There’s a massive hook here that takes the form of a dual vocal scream of, “WHISKEY SIERRA!” This is such a simple inclusion that gives the band’s music and far more memorable quality that is then followed up with a punishing series of blast-beats. Corrupt Moral Altar have lost none of their edge by adding something as simple as a vocal hook but they’ve gained from it greatly.

The other new track on the EP comes in the form of ‘Lord’ which continues in the band’s patented Hatebreed-esque stomp but peppers the song with bursts of grindcore and crust punk to create an intense, chunky, groove-ridden piece of metal that is immensely satisfying to listen to. It lacks the hook of ‘Whiskey Sierra’ but it succeeds in showcasing what Corrupt Moral Altar do best and that’s making crushing metal that takes influences from a range of genres.

The b-side of the EP takes the form of two re-recorded tracks from the band’s debut EP ‘Luciferian Deathcult’. If you’ve already experienced the two songs then the real pull of hearing them again comes with the masterful production and mix that ‘Whiskey Sierra’ has received. Some incredible work has been done in making the whole EP sound raw and aggressive, but it’s done in a way that allows the listener to appreciate the musicianship on display. Every element of the band’s sound is as clear as day from the manic drumming, distorted bass, crunchy riffs and ungodly dual vocal attack and it’s a glorious racket to behold.

The only issue with this EP is the whole thing is over and done with in ten minutes. It’s an absolutely gripping ten minutes but it’s an abrupt start-to-finish that leaves you begging for more. In a way the band have succeeded in making a great EP that does generally make you want more from them, but in turn it’s such a shame that there isn’t a lot more new material here for existing fans of the band.

Luckily the band are returning in 2014 to release their début album which is bound to be something special if ‘Whiskey Sierra’ has anything to say about it. Corrupt Moral Altar already sound like a band who have mastered their groovy grindcore and after this ten minute burst of extreme decadence you’ll be more than happy to see more music from the band roll around sooner rather than later. ‘Whiskey Sierra’ is a solid yet short release that will leave fans of extreme music extremely satisfied. More please.


Corrupt Moral Altar’s Whiskey Sierra 7″ white vinyl EP is available to buy from Dead Chemists Records now.

Our Picks for Catbird’s Sunday Roasting on Bloodstock Radio (10/11/2013)

We returned to co-host Catbird’s Sunday Roasting beside James Begley of Hybris on the 10th of November 2013. It was good to be back on the show after such a long break and despite not getting to play as much of our own choices as we did last time, we thoroughly enjoyed chatting rock and metal with Catbird and James.

Below is our picks for the show and links to online stores that allow you to purchase the releases they are featured on. We thoroughly recommend you scope out the bands we featured as we truly believe they are some of the best UK rock and metal artists doing the rounds:

Carcass – Cadaver Pouch Conveyor System (buy here)
Jamie Lenman – Fizzy Blood & Pretty Please (buy here)
Limb – Son and Daughter (buy here)
Corrupt Moral Altar – Whiskey Sierra (buy here)

Review: Confine’s Setting Fire to the Western Hemisphere

Confine are an ungodly amalgamation of the UK’s finest extreme metal musicians. The band feature Zac Broughton from Oblivionized, Edd Robinson from Human Cull and Disfortune, Rich Speakman from The Afternoon Gentleman and Gets Worse, and Chris Reese from Corrupt Moral Altar and HorseBastard.

Putting these 4 men in a room together has resulted in Confine and their debut EP, Setting Fire to the Western Hemisphere. It’s also resulted in a record so heavy it sounds like a freight train crashing through a series of grade A listed buildings. It’s quite remarkable how unforgiving this 8 track collection of blackened grindcore is and it’s all over and done with in just over 7 minutes. Hold onto your butts!

Each song on Setting Fire… clocks in at about 50 seconds and displays a melange of blast beats, guitar noise and screaming. It’s quite astonishing that the sheer brutality of this release is actually enjoyable. A huge amount of focus has been put into making memorable riffs which gives the songs a decent hook. It’s this much needed element that gives the listener something to focus on and in turn a decent melody to head-bang to.

The mix is incredibly drum-centric and Speakman’s playing is absolutely furious. The bass drum sounds like someone is striking it with a wet ball of socks and when the blast beats are unleashed it’s an almost euphoric display of brutality.

A special mention has to go to Reese who does a fantastic job of punctuating the songs with precision placed screams instead of just yammering over everything with no structure. Too many screamers randomly scatter their vocals over their band’s music and not enough think about exactly where to put them for the most devastating effect. Thankfully, Reese falls into the latter category.

Setting Fire to the Western Hemisphere is a like a wet dream for grindcore fans. Confine have managed to put together a fearsome, devastating slab of extremity that is bolstered by brilliant riffs, unbelievable drumming and some of the best arranged screaming on any metal record. Some actual thought went into this release; how often to you get to say that about a grindcore record?


Confine’s Setting Fire to the Western Hemisphere is available to pre-order from Witch Hunter Records now.

Review: Corrupt Moral Altar’s Luciferian Deathcult

Whoa. So this is heavy then. Breathtakingly heavy in fact. Corrupt Moral Altar certainly know how to craft extreme music. The Liverpudlian 4 piece make intense, visceral, blackened grindcore in the style of Napalm Death and Hammers and it’s showcased here on their Luciferian Deathcult EP.

Extreme metal of this calibre can be pretty difficult to pull off without sounding like a load of fools smashing their instruments as hard and fast as possible and pig-squealing over everything. Well I can’t thank Satan enough because Corrupt Moral Altar do a rather incredible job of putting one of the most anarchic things ever to record and also structure it in a way that isn’t completely overbearing.

The real powerhouse in the Corrupt Moral Altar sound is drummer Tom Dring. The man unleashes some of the most furious blast-beats and double-bass drumming heard in ages and does it so furiously that I can imagine a lot of sticks were broken during the recording of this EP.

Adding another element to the Corrupt Moral Altar sound is vocalist Chris Reese who’s harrowing scream gives Luciferian Deathcult an uncontrollable element that makes the record sound like it’s going to fight its’ way out of your stereo to slit your throat.

It’s these 2 elements that give Luciferian Deathcult its’ overbearing sound of sheer brutality. What actually manages to tie it all down into a package that you can appreciate is the simple yet effective work of guitarist John Cooke. Cooke’s riffs might not be the most technical work around (and they certainly rely on the single-chord breakdown a bit too much), but it’s their simplicity that helps round out the EP into one you can actually remember.

Cooke brings some much needed groove to songs like Politics is a Bargain Between Beggars that allow the songs to flow and give them that all important element that will win them over to an army of headbangers.

Also helping to temper the storm is the pacing of the EP. While the songs are never slow, they don’t barrel along at a pace that’s too quick to comprehend. Each song is a fully formed slab of vicious metal that has room to breathe unlike the 30 second stabs of violence you get from the fastcore scene.

Finally, the spectacular work on the mix also helps the listener to take in all the elements of Corrupt Moral Altar’s sound without them meshing into one, giant, brown note. Every bass-beat, riff, scream and cymbal crash is presented with stunning clarity that really helps you appreciate the musicianship on show, regardless of how utterly mental it all is.

Corrupt Moral Altar’s Luciferian Deathcult is a master-work of extremity. These men like their music as loud as possible and for those looking for an experience that’ll rearrange their innards, you’ll be hard pressed to find one as expertly executed as this.


You can pre-order Luciferian Deathcult by Corrupt Moral Altar from Bait in the Trap Records now. The EP is officially released on the 18th of February.