Review by Fernando on April 11, 2021.

Not a lot of people talk about UK death metal beyond the obvious and emblematic Bolt Thrower, but in their underground there’s cult act Grave Miasma who for almost two decades have released a steady slew of sonic abominations that have enshrined them in the underground. In 2021 they come back with their LONG overdue sophomore release Abyss Of Wrathful Deities, to be released through Sepulchral Voice and Dark Descent Records for the EU and the US, respectively.

First thing first, Grave Miasma’s particular sound can best be described as death metal with elements of black metal and some assorted influences ranging from thrash to even Indian music. That latter element was prevalent in their superb 2016 EP Endless Pilgrimage, and that EP is relevant for this new LP since the band have continued in that style and developed it even further. The previous GM releases featured a very dissonant, very blasphemous and filthy style of death metal, where they overwhelmed your senses with pure sonic unholiness, but now, the band’s sound (while no less ferocious and overwhelming) is a much more clear sounding, but also much more ritualistic trait. The band is still incorporating Eastern influences which include a sitar and an oud, and have expanded that influence onto their solos and overall atmosphere. The dominant instruments are still dual guitars, which are enhanced by the echoing and intense vocals, and the band is able to seamlessly switch from speed to a mid-pace, while also flexing some excellent riffing. There's even some tastefully performed riffage where the band truly display that thrash influence that was somewhat superseded in previous efforts.

The obvious improvement in sound quality and polish is what helped the band in fully realizing the sound they’ve been slowly but surely developing over the years. Jaime Gomez Arellano, from Orgone Studios, rose to the occasion to make this record sound as good as it needed to be, and without betraying the band’s underground roots. Furthermore, given this record, according to the band, delves deep into exploring various spiritual aspects of death, it was only natural that the band would want their music to viscerally display this, and indeed, the album manages to have an overwhelmingly oppressive atmosphere. Without discarding their utter ferocity, they accomplish this with their performances and as a unit the band simultaneously succeed in having the mandatory speed and primitive strength any death metal band should have and also the ritualistic atmosphere. Neither of those elements cancel or is above the other and the end result is a unique album that’s both dynamic and versatile, while also very straightforward and without filler or needless self-indulgence.

Overall, Grave Miasma made good use of the 5 years it took them to release new music and there’s very little to complain about here, as this is a quality death metal album that pushes the genre’s extremity into a bold and mystical direction.

Best tracks: 'Rogyapa', 'Erudite Decomposition', 'Under the Megalith', 'Exhumation Rites', 'Kingdoms Beyond Kallash'

Rating: 9 out of 10

Review by Chris Pratl on February 14, 2020.

Seriously and sadly overlooked most of the time, Italy produces some serious metal music from all genres and sub-genres alike. From the doomy / traditional efforts of Death SS, into the Venom-esque speed and degradation of Bulldozer, Schizo or Necrodeath, straight into the power metal elite of Luca Turilli, Italy has its wondrously colored flag deep in the roots of this musical medium. Adding to that coveted mix is the relatively “new” Exctinction, providing its own brand of death-thrash for the not-so-easily-enlightened among us. The band has been around since the mid-90's, producing a lone demo some 24-years ago, but with two albums under the studded belt in the last three years, I'd say the gears got kicked in rather nicely.

In what has to be one of the better intros to an album that I've heard in some years, Extinction cascades rather seamlessly into the large air of the room. The band's brand of heavy metal work manages to create a thick aura of tempestuousness around the music, something all too often reduced to shambles by the chorus riff of haphazard bridge. Such is not the case with the group's second offering, The Apocalypse Mark. The intro sets the tone for the first musical track on the album, titled “Subcutaneous Parasite” and “The Apocalypse Mark” respectively. While I certainly hear some death metal elements within the tracks, the overall style is one of heavier thrash in a slower, more melodic vein, but it's really an interesting recording overall. The thickness of the tone throughout is one that seems to gently suffocate rather than subjugate, which is always a good element to build upon with music of this particular mesh.

Guitar-driven and unusually stylistic by design, Extinction takes an otherwise stagnant area of metal music and caves in the cranium with its vicious, stultifying blanket of sound. Rather than relying on speed for its own sake or over-produced material disguised by bland hypnosis, The Apocalypse Mark delves deep into the murk of the saturated gene pool and offers not only interesting riffs but wonderfully vital time-changes in just the right areas of songs. This is where the more experienced thrash elements come effortlessly the surface. “No Crimes in Paradise” and “El diablo del norte” are prime candidates for the best songs on the album for me due to the total shameless reliance on style and memorable riffs over blind, pointless speed.

I also really enjoy the vocals; while nothing special or new, the throaty tone is clear and concise, with just a hint of wonderment as to which classification need be attached to this band (because we all know metal bands so need to be lumped into a sub-genre so minions can sleep well at night). That little rant aside, I do notice a certain element of guarded restraint in the vocal delivery; that is, the voice seems to flow nice and evenly over the music without benefit of added force or studio trickery, an all-too lost effort these days. Suffice it to say, the band fires on all open plugs throughout the album, and it's one I plan to visit again more than a few times in the next few days.

I can recommend Extinction to anyone out there not expecting a reboot or revamp of anything, but that can appreciate and embrace the rare band that comes along and creates a collective that impresses the weary traveler among us. Hit the band up on whatever social media platforms they provide and listen to some pretty fun tunes – always support the artists!

Rating: 9 out of 10