Horror Pain Gore Death Productions is set to release the first record from New Jersey's extreme metal beasts WORLD EATER, and today, we are thrilled to host the full album stream of the highly anticipated debut album, An Insidious Remedy.

Hailing from New Jersey, this quintet brings together elements of death, doom, and thrash to create a bludgeoning, percussive, yet atmospheric take on extreme metal. An Insidious Remedy unleashes ten distinctive tracks showcasing raw performances of muscular riffs, air-tight drumming and weighty vocals, enveloping the listener in controlled chaos and devastation.

The band comments: "With An Insidious Remedy, we set out to make a record that we would be fans of even if we weren't in the band, and we really achieved that. All the elements that we love about Metal are in there, and we couldn't be happier to work with HPGD to get this record to as many people as possible."

For fans of Aeon, Bloodbath, Bolt Thrower, Deicide, Druid Lord, Entombed, Gatecreeper, Novembers Doom and Paradise Lost.

An Insidious Remedy will be released by Horror Pain Gore Death Productions on June 16th, 2023 on CD and digital formats.

WORLD EATER is:

Evan Conway - Guitars, Bass, Programming
Ed Pacella - Vocals, Programming
Wes Ostrander - Drums
Dan Birch - Guitars
Tommy Vasta - Guitars

MORE INFO AND PRE-ORDERS:

https://www.facebook.com/worldeaternj
https://worldeaternj.bandcamp.com/
https://www.horrorpaingoredeath.com/
https://www.facebook.com/horrorpaingoredeath/
https://hpgd.bandcamp.com/

Can you stay home when your favorite band performs in your area and it's your birthday? I couldn't sit that one out and crossed the threshold of the Moto Pub, and the recordings you will see below are proof of this massacre.

The first one to go was Białystok's INFERIAL. Some time ago you could read a review of their debut promo-demo Eternal Descent on our pages, and now we present a short video report from their concert. Locals and others who came to the Moto Pub crowded in front of the stage from the first sounds of guitars and stayed there until the very end. It wasn't enough for them to play the entire material. Only after the encore could they leave the stage. This was probably the best proof that fans liked their version of death/thrash metal.

After a quick reload of ammunition and stage equipment, SACROFUCK stormed the stage with their grinding death metal. After the well-received Święta Krew I was curious about their stage blasphemy. They didn't sound very clear until the sound system was properly adjusted, but later it was quite good. A quick music brought a quick end.

Another change of instrumentation and the Chełmsko/Lubelski quartet - STRAIGHT HATE - took the stage. I had already seen several of their stage abominations and I remember them all well, so I was ready to start the next one. An interesting feature of this performance was Kamil's replacement with Piotrek from Deivos. Although I can't say anything bad about Piotr's playing, I missed Kamil on stage, so I wish him a speedy recovery. Thank you, Kuba, for inadvertently giving me such a great injection of grindcore energy, and great respect for Wizun, his drum artistry adds magic to this grinding miasma.

Arek

STRAIGHT HATE

SACROFUCK

INFERIAL

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PAČESS have been around for some time, "Poupě" being their third full-length album since the release of their debut a decade ago, but this time round have graduated from ostensibly an eponymously-named solo project of main man Pačess to a full band arrangement, featuring various luminaries from the Czech metal scene. On the evidence of this release, the new-found collaboration has been highly beneficial, and the result is a strong and compelling album, which skilfully traverses a number of extreme metal sub-genres, while never moving too far into the realms of the avant-garde to lose a clear emphasis on memorable song-writing, featuring an array of hooks sharp enough to burrow deep under your skin.

The title track opens the album in elegant style, with lush swells of synth gradually giving way to chugging guitars, and mournful spiralling leads, everything coming together into an approximation of the kind of mournful, gothic melodrama that suggests that although PAČESS hail from the Czech Republic, their influences stem predominantly from Scandinavia. This slow-burn epic really soars when it transitions into a down-tempo bridge section which combines the kind of pastoral mellotron break that Opeth utilise frequently in their post-Blackwater Park output, with some delightful, minor key twin guitar harmonies, hinting that somewhere below the surface lurks a band that have constructed a diverse and wide-ranging sound on a solid foundation of metal classicism.

One of the most intriguing features of "Poupě", is the extent to which the band's sound changes from track to track. At times, this is reminiscent of the scattershot approach of Root, which may seem like a lazy comparison given their reputation as arguably the preeminent Czech metal band, but is in fact justified in the light of the fact that PAČESS share members with Big Boss's occasional side project, and some of the off-kilter vocal phrasing in particular shows clear evidence of a shared sensibility. Despite the shape-shifting sound, there is enough of a common sonic thread running through the album to ensure that it just about hangs together, but it is still slightly jarring to move from the doomy rock of the title track to the Watain and Dissection-flavoured melodic black metal of the admittedly spectacular 'Sommelier'. Tremolo guitar figures mesh seamlessly with chiming synth lines, and the band show a keen sense of dynamics, shifting the tempo throughout the track, each section bleeding into the next without sign-posting the joins too clumsily. Indeed, PAČESS have a knack for the composition of deft arrangements, which ensure that the majority of tracks contain an unforgettable and original motif designed to ensure that the listener will feel the unmistakeable desire to return regularly, in order to sate their appetite for more of the welcoming and enveloping atmosphere that the band are so adept at creating. 'Jako Most K Lidem' is the most thrilling example of this, placing a rolling bassline courageously high in the mix, the guitars converging with it to form the centrepiece of the song, a whirring, industrial-sounding single-note riff creating something magnificent from a limited set of ingredients, proving that the greatest ingenuity can often be found in simplicity.

Not every component of the album is quite as engaging as this, however, and it would be disingenuous not to point out some of the minor flaws in what is nevertheless a splendid piece of work. The strength of the first three tracks is not quite matched by the second half of the record, which does not contain the compositional depth of the first half. The stirring folk metal vocal melodies of 'Butan-2, 3-dion' are not quite enough on which to hang the rest of a meandering song, and similarly, 'Reinheitsgebot' commences with solid riffing that again recalls Watain, and even their compatriots Obtained Enslavement, in its slightly off-the-wall use of intrusive, but fascinating, synth arrangements, but overall, it is ultimately somewhat one-dimensional for a band that clearly have the tools at their disposal to craft something more intricate and progressive. This is proven decisively by the truly immersive 'Jménem Lilie', which closes the album in style, a bittersweet slab of magisterial gloom to bring us full circle, matching the quality of the excellent opening track.

As a whole, the album displays a satisfyingly organic feel, conjuring heady atmospherics with layers of sound, synths draped over the metallic framework like a fuggy, low-hanging haze, suffusing the entire album with a dreamlike quality which enhances the sophisticated and classy compositions. Poupě apparently translates from Czech as 'bud', and it is a well-chosen title. Pačess are clearly a band that, in the right conditions, can flourish and flower into something rather beautiful. In the here and now though, Poupě is certainly impressive enough to draw admiring glances from all who pass, and resilient enough at its core to withstand the changing of the seasons, ensuring that it will continue to stand tall long into the future.

PAČESS is:

Pačess - guitars
Ing. Tomáš František Hanzl a.k.a. Chymus - vocals
Tomáš Parambucha Řeřucha - bass
Jakub Fritsche - guitars
Filip Smetana - drums
Čed - keyboards

MORE INFO AND PRE-ORDERS:

http://www.pacess.cz/
https://www.facebook.com/PacessBand
https://www.slovakmetalarmy.sk/
https://www.facebook.com/slovakmetalarmy
https://pacess-sma.bandcamp.com/