Deceased - Children of the Morgue (2024)

Though I don't find myself listening to their first few records as often as I'd like, Fearless Undead Machines and all of the Deceased full-lengths beyond 1997 are regular staples in my listening rotation, ESPECIALLY around Halloween season where their tales of cult horror truly resonate. Queue the King Diamond, the Samhain, early Danzig, the Rob Zombie (laugh all you want), the Cradle of Filth, a whole lotta death metal and creepier atmospheric black metal, and then Virginia's finest for me. I didn't notice a strong reaction abroad to their latest, Children of the Morgue, but I was smitten as soon as I saw the collage of creepy dolls that make up the cover art, I knew we were going to those DVD/VHS racks and pulling out all the stops, so I turned the lights down, grabbed my popcorn and pressed PLAY.

In King Fowley I trust, for good reason, because Children of the Morgue is the same classy-as-fuck blend of heavy, speed, thrash and death metal that I've been loving for nearly 30 years. It doesn't ascend to the same heights as a Supernatural Addiction or Surreal Overdose, and you could argue that it plays it safe within those already-broadened margins of their sound, but Deceased is about songwriting consistency, and blending together the right level of atmosphere complementary to the themes with the classic metal across numerous genres that inspires them. So you'll get some dim, moody acoustics, cleaner narrated vocals from King, a lot that actually makes you feel like you're actually watching an obscure horror flick ("Terrornaut", for example), and it all blends seamlessly with the riffing variety, which ranges from the more melodic and welcoming to some of the old dissonance of The 13 Frightened Souls or Blueprints.

King has shifted more comfortably into his vocal role, which still sounds as great at it has on the last 7-8 albums. This allows Amos Rifkin to dominate the kit, on which he does a great job keeping in Fowley's down to earth style, maybe packing in a little more muscle. The riffs rarely disappoint, and even the less catchy ones feel like they're coming straight out of the Deceased playbook, while the leads maintain that memorable, workmanlike authenticity. Never too flashy, but fulfilling enough, with melancholic twists to them that suit the overall attitude of the recording. Children of the Morgue is clean, but they keep the instruments just raw enough in the mix that it doesn't suffer from polish that would leech away its underground aesthetics. It's a damn good album, and I like it as much as its predecessor Ghostly White, but it just happens that they've got four albums I enjoy even more. Still, if an album this good is the 'floor' of what they're capable of for the last couple decades...well, that's why they are one of our best American metal bands going today. Integrity in spades.

Verdict: Win [8.5/10]

https://www.facebook.com/deceasedofficial/

Deceased - Ghostly White (2018)

Deceased have become one of our most enduring US death metal bands; granted they temper that genre with a lot of speed, thrash and traditional metal elements and have done so for the last 30+ years, but when it comes to their mainline releases, they've become synonymous with quality since Fearless Undead Machines and arguably even earlier than that. Ghostly White is another ambitious record where songwriting and pacing are key, structures and riffs are paired up alongside the lyrics and narrative of the themes, and there's absolutely no wanking or nonsense that doesn't serve the band's consistent style. The songs can pop off in 3-4 minutes or be blown out to over 13 and you don't get any noticeable dip in quality, everything is as it needs to be written.

To some extent, it might lack some of the 'surprise' from albums like Supernatural Addiction and Surreal Overdose, since we're so used to them writing in this style. It's honestly hard to even dub this proper 'death metal', outside of King's harsh vocals, but in a way, that's kind of why it is, like Root is to black metal, these guys are an outlier in their genre who think for themselves and rarely sound like anyone else outside of some of their original 80s peers. But if we're analyzing the music directly, it's a mix of thrash, speed and heavy metal which is enriched with creepy melodies and leads and that hoarse and unmistakable tone of the vocals. There's a rawness about the mix, more so than a few of the other albums, which renders this thing perfectly timeless, with brash rhythm guitars and wild leads that almost always sound awesome and well-rendered into the ghastly atmosphere that their productions always deliver.

I don't think "Mrs. Allardyce" is the best track on the record as an opener, I don't really start getting drawn into this one until "To Serve the Insane" with its descending, mournful chorus melody, or "The Shivers" which is another nice speed/heavy metal rager with a great, simplistic melody that pokes out into the night. The aforementioned 13+ minute opus "Germ of Distorted Lore" is quite good, having Deceased play with some slower, almost martial sounding sections to break up the thrashing outbreaks, and "Pale Surroundings" stands out as another catchier tune later in the track list with some eerie female spoken word parts. That said, there isn't actually a weak song here, it's just not putting its best foot forward, but drawing you deeper into its web before you get to the truly memorable moments, and that's often the calling card of a well-written record. Which this is, and it's another victory for one of our finest USDM institutions, and probably mandatory for horror metal fanatics the world over.

Verdict: Win [8.5/10]

https://www.facebook.com/deceasedofficial/

Deceased - Behind the Mourner's Veil EP (2001)

King Fowley and Deceased are no strangers to paying tribute to the influences that got them where they are, and on numerous occasions released entire albums with a considerable number of cover tunes. In fact, I wouldn't be surprised if, by this time, they had recorded more covers than origins...between Zombie Hymns (2002), Rotten to the Core (2004) and the most recent Rotten to the Core Part 2: The Nightmare Continues (2020). The earliest I had heard from them was probably the "Voivod" cover from The 13th Frightened Souls EP, and then this little EP Behind the Mourner's Veil which was cool as it mixed exclusive new tracks with a handful of covers from recognizable names like D.R.I., Tankard, and Anthrax, which wouldn't surprise anyone as sources of inspiration for the horror death/thrashers whose aesthetics have always been so mired in the rougher, filthier aggressive metal of the 80s.

The new tunes are ragers, although I can understand why the band felt they'd probably be better spent here than on one of the full-length records like Supernatural Addiction or As the Weird Travel On. "It's Alive" and "The Mausoleum" both contain many of the band's hallmarks, charging thrash/speed metal laden with traditional heavy metal melodies and an occasional foray into the faster elements of primordial death, in particular with King's vocals. They're well-developed headbanger tracks, not as righteously catchy as some of the material on the couple proper albums before them, but certainly enough to help tide one over for the next. More dynamic would be the 10 minute closer "Victims of the Masterplan" which is lyrically based on the West Memphis Three saga, and divided into a 4-part metallic narrative which for me had most of the best original riffs on the EP and a bit more of a dynamic spread than the openers. Especially I liked the moody breakdown with the samples which really kind of put this all into perspective, I mean that was a horrifying fucking situation for the victims and also for the accused, one that I don't think we've collectively shaken off as Americans. Child killings are traumatizing for me, but Deceased actually tackle this with an inquisitive respect, even at the risk of creating an unbalanced tone against the sillier originals and covers.

The covers themselves are decent, but a tune like Tankard's "Zombie Attack" is so great to begin with that it's difficult to live up to. King and crew make it even more murky sounding and throw on some more death metal growls, but otherwise play it fairly straightforward. "Reaganomics" is over in a flash of course so something like this pick is more to score a few points. On the other hand, I actually really dug their version of Anthrax' "Deathriders", in fact I might listen to it more than the original, this more aggressive style suits the riffing and lyrics well, although they still throw a few screams in there too. Same with their version of "New Age of Total Warfare" from British speed/thrashers Warfare, I'd probably reach for this before the original, it just sounds that awesome. All told though, you're getting almost a half-hour of material here, cool cover art, and really their best release while you waited it out in the 5-year stretch between Supernatural Addiction and As the Weird Travel On. Not as formidable as most of their full-length albums but some quality fan service nonetheless.

Verdict: Win [7/10]

https://www.facebook.com/deceasedofficial/

Deceased - As the Weird Travel On (2005)

This wouldn't be the first time a Deceased record has grown on me. While 1997's Fearless Undead Machines elicited positive thoughts on its first spin, that's an effort that I have continued to appreciate in increased capacity for almost two decades now. And lo, sandwiched between my two favorite albums to involve King Fowley, Surreal Overdose and Supernatural Addiction, lies another underrated gem of which I am also responsible for some degree of neglect, As the Weird Travel On, which faithfully carries forward the band's great legacy of entwining speed, heavy, and death metal aesthetics into a confident and consistent exhibition of cult horror worship that is as true to its musical sources as its literary and cinematic inspirations, while remaining completely underground with a 'cool factor' temperature that makes the flesh of the undead seem balmy by comparison. I brought up Fearless Undead Machines, because looking back retroactively at the Virginians' ouvre since that particular evolution is to behold one of the best streaks by an American metal band since the 80s...

Not to fault the first two Deceased full-lengths, which are both good as developmental milestones, but this is a style I can NEVER grow sick of, a seamless integration of the legit sounds I explored as a teenager, where the riffing and structure of various metal strains had become more complicated in terms of both aggression and melody. Not to say that they're 'technical' by any means. Their tracks tend to dwell around the 6-8 minute range, with substantial amounts of riffs and tempo shifts that are persistently catchy. Marginally predictable in some cases, but always leading to something that pops with your ears, like a great, shifting rhythm hook galloping away beneath a lead, or a very tasteful and sparse use of a keyboard to accent some gloomy moonlit vista that erupts from the frothing, shambling speed metal mob converging upon it. Mark Adams and Mike Smith are 'classically' trained axemen in that they have an encyclopedic knowledge of 80s A-, B- and C- tier heavy, power and speed metal, with a healthy dosing of the youthful fits of energy that thrash and crossover brought; but they play a lot of this stuff even faster, to a level of extremity that even some jaded Morbid Angel fan might appreciate.

The drums are perfect on this album, a cavalcade of firm, fiery hard rock rhythms that can easily burst into any intensified technique the hypertension of "A Witness to Suspiria" requires. As the Weird Travel On bears distinction because it's an album where King Fowley himself stepped away from that duty, bringing over Dave Castillo who was also working with his other project October 31, and the man simply doesn't cock it up. Les Snyder's bass lines don't always seem to strike out much terrain on their own, but they really round out the record with a great, audible tone which anchors the lightning that Adams and Smith have let off the leash in both the speed/thrash metal undercurrents and the spastic Maiden-esque leads and harmonies, which are yet another selling point of this album because, while conventional in approach, they are without exception memorable or at the very least perfectly fit to the tracks surrounding them. Deceased even manage to incorporate a bit of dissonant Voivod riffing on a track or two to help round out the record from sounding too straightforward, a trait they used on some of the earlier releases but hadn't reared its head so much on the two albums preceding this.

In sum, As the Weird Travel On is wall-to-wall, shoulder-to-shoulder metal bliss which doesn't age any more than the psychological and corporeal late-night horror cinema that inspires it. Narrative lyrics that describe their ghastly scenes and situations with perspectives both external and internal, melded to the polished but salacious melodic speed death which plays like no other band I can name. Sure, there is DNA planted here by anyone from Rigor Mortis to Iron Maiden, but Fowley and company retain so much of the medium's genuine pulse and translate into such a coherent picture without ever coming off as excessively studio-driven or as trendy as their Swedish counterparts had become by the early 00s. Asked a decade ago, I would have probably ranked this behind its two predecessors, but I have no choice now but say that this is every bit as good as Fearless Undead Machines, and nearly on the plane of its followup. It's also a little more energetic and high speed than either of those, another great salve for those souls needing soothing for their kitsch horror addictions or reminiscences of Halloweens lost, willing to take that injection in both the fight and flight of heavy fucking metal.

Verdict: Win [8.75/10] (prepare for the abbatoir)

Deceased - Luck of the Corpse (1991)

Luck of the Corpse is a textbook example of a grave-blossom not yet in gruesome bloom, a record that functioned only as a crude forebear for its superior successors. Yet there are particular charms to it that I always felt were difficult to deny, despite the dearth of strong riffing progressions and melodies that characterized their true 'breakthrough' period that is unquestionably Fearless Undead Machines and its followup/refinement Supernatural Addiction. To be frank, there's not really a Deceased record I dislike. They've inevitably transformed into one of the most unique and consistent voices in American metal, period, and certainly one of the greatest bands on Earth that I'd dub 'horror metal', since their generally excellent music is accompanied by a lyrical wealth drawn from cult, camp or classic horror that King Fowley and crew seem to have a genuine fascination for. They were doing this long before most other death metal outfits, since the mid-80s, vomited forth from that same filthy mindset that produced Possessed, Blood Feast, Indestroy and their ilk, only Deceased were headed in a more distinctly 'death' direction which the adoption of King's full-bore growls, a technique fans of the band's later material might not be too familiar or comfortable with...

Because, let's face it, while Fowley is an adequate grunter and you can already perceive his natural tone in each line, the vocals of Luck of the Corpse were not nearly so charismatic and unique as they'd become on the later material, where he'd dial back on the guttural delivery and commit to his raw, haunting style which, without being overly melodic, seems a better fit to the band's amalgamation of slasher, paranormal and creature-feature themes. The debut is partly held back by this, because it's naturally just not so dramatic or interesting, but then, that's all-around what separates this from the Virginians' stable of great works. I would also point out the riffing for fault, which was often direly predictable even by 1991 standards. A mishmash of pretty average speed and thrash metal structures imbued with an occasional burst of more open punk or grind intensity. With the exception of a few tremolo riff patterns and the vocals, few would probably even consider this a proper 'death metal' album. The lion's share of rhythm guitars really serve to make the album's melodic exceptions stand out, where on later records both areas were equally strong and nary a track will pass without some delicious riff that you've got to constantly replay in your mind or on your stereo. Here, it seems two uninteresting riffs spit past you for every one that sticks, and so personally Luck of the Corpse becomes more an album to revisit more for its lyrics, atmosphere and nostalgia than for digging up the band's most memorable fare.

That said, I absolutely FUCKING LOVE the production on this disc. In fact, I find it superior to either the 13 Frightened Souls EP (which had better songs) or the grainier Blueprints for Madness sophomore (which also had better songs). A great, gritty guitar tone which is worthy of some of the edgier underground thrash of the decade, but still somehow bright enough to shine on the higher pitch riffing, like those creepy little melodies that poke through the savagery of "Psychedelic Warriors", or the more harried and intense flurries of notes that comprise the Megadeth-like athleticism of "Decrepit Coma". King's drumming seems a little ramshackle amidst all the constant tempo changes here, because Luck of the Corpse is nothing if not a dynamic volley of thrash/speed/punk, but the actual mix of the drums has just the right amount of volume and reverb that makes me feel like I'm out at some live gig. Only complaints there would be that some of the snare cracks seem a little loud, and some of the fills feel stilted and half-formed. I also really love the cruddy sewer-dweller presence of the bass guitar, a C.H.U.D. in audio flesh, making it pretty clear that this was also going to be an INSTRUMENT in Deceased and not just lost in translation like on so many early thrash or death metal records. He does often ape the guitar line a little closely, but is given some breaks of his own and tosses in some sporadic and sturdy tremolo picking sequences of his own and fills, which make a tune like "Experimenting with Failure" so wild (a favorite here).

As a whole, even with a lot of the riffs not being individually anything to write home about, I'm surprised just how much Luck of the Corpse seems to stand up to time. It's certainly not modern or polished sounding, but I'd be very happy to get a new record today from an underground band that had this sense of passionate nostalgia about it. It's perhaps the skimpiest selection of great Deceased songs on any of their full-length offerings, but at a conceptual level the group was already intelligent, lyrically interesting. The difference in riffing style between this and, say Obituary...or Suffocation...or Cannibal Corpse really sealed the deal in distinguishing the Virginians' trajectory, but I was immediately smitten most by the manic, excitable lyrics that often feel more like a mad scientist monologue from some old black & white horror flick at the drive in. In his mind, King was already wearing the lab coat, already dissecting the animated cadaver to see what made it 'tick', and it lends a credible charm to the debut even if his vocal style had yet to really leave an impression. Some would probably argue that Luck of the Corpse is the band's one TRUE death metal disc, but I prefer to think of Deceased as always simply doing its own thing, adding its own voice to the choir and never so intent on limiting or labeling itself. This may not be so multidimensional as its progeny, and a lot of riffs pretty familiar, but it was undoubtedly one of the most 'stylish' releases on the early Relapse roster, and is still worth an occasional spin if you can avert yourself from the better albums to follow.

Verdict: Win [7.5/10] (into a prison of dirt)

http://www.upthetombstones.net/

Deceased - The Blueprints for Madness (1995)

As crucial as Deceased's sophomore full-length was to the development of their later works, The Blueprints for Madness might better be dubbed 'The Blueprints of Better Albums to Come'. For while its riffing variation and the horror-borne atmosphere through the album are nearly as potent as its successor Fearless Undead Machines, the production here pretty much kills the deal, holding it back from that plateau of greatness they've since achieved and, in my humble opinion, never stepped down from. It isn't that this album lacks charisma, but the guitar tracking in particular leaves much to desire, and I'd almost love to hear a remix of Blueprints. Keep the music, toss in better leads, and certainly keep the incredible Wes Benscoter artwork (one of his finest), but fix that ugly tone...

This is not quite the refined, melodic Deceased many will recognize from records like Surreal Overdose and Supernatural Addiction, with all the tasty speed metal flurries and British influenced harmonies, but you get a lot more of their punk, hardcore, splatter-thrash and even a tint of grind, all brought forth from the 1991 debut Luck of the Corpse. Tunes like "Into the Bizarre" bring out a lot of the early Voivod circa 1984-1986, though not quite so eerie or dissonant in terms of atmosphere. Even a few, slower, dreary, doom-inflected guitars show up. King's vocals are at their roughest here, from his usual haughty barks and vapid, mournful refrains to more directly harrowing growls and rasps level with the other extreme metal of the mid-90s (some provided by Les, the bassist). The drums have a pretty organic mix, lots of power to the fills and a very blocky sounding kick drum that manages to present itself despite the smudge of the guitars. Bass is pretty good, and the leads slice through the mix with a decent effect, but the rhythm tracks sound far too muddy and indistinct and they're hands down my least favorite elements...

It's not that you can't make out most of the notes, or even all the notes, but they just sound so cruddy to my ears. When the band is churning out an accelerated rhythm in basic punk/grind chord progression like in the calamitous "Alternate Dimension", it doesn't make much of a difference, but when they hit the slower palm muted power riffs it's fairly repulsive, and not in a positive way. It seems like a conscious decision, too, because it's not like the rest of the instruments and the vocals sound so underwhelming; in particular there are sequences where Fowley is barking out some insane line with just enough reverb that it sounds truly ominous. No, it's just a pretty fledgling tone that suffocates the note patterns rather than letting them breathe and sear themselves into the listeners' memory. Not that the drums and bass sound exemplary, they're vaguely demo level in depth, but the fusion of deeper, surgical thrashing guitars and corroded meathook chugs deserved a little more polish.

Otherwise, the lyrics and concepts behind the songs here are classic sci-fi weird/horror which Deceased have proven one of the best at translating into the medium. As with the later albums, Fowley really gets into character, and each piece feels like a 'story', often told from a first person perspective, which draws my imagination back to late nights watching films on the TV horror block which were morbid and memorable despite a lack of budget. Synthesizers, samples and other orchestration appear sparsely throughout the 52 minute run-time, always contributing atmospherically even where they lack fidelity. The Blueprints for Madness is no slouch when it comes to composition: there are tons of riffs erupting everywhere, all of them varied, and many quite good, but the production doesn't allow them to reach their full, terrifying potential. The Virginians seem to possess a curious, linear progression in terms of their records' quality, and this one definitely inches beyond the debut, but they would only keep improving after this; and for that reason, even if this is well above average, I rarely break this out over Fearless Undead Machines, etc.

Verdict: Win [7.75/10] (sanity tries to last)

http://www.upthetombstones.net/

Deceased - Surreal Overdose (2011)

Deceased are one of those rare bands which never seems to release anything even hinging on a bad album, at least when it comes to their full length studio fare. The most obvious reason is that King Fowley and his cadre of metallurgical historians have their minds and fingers upon the pulse of good taste, the lure of nostalgia and yet no crass committal or constraint to merely sounding 'old school'. Then there's also the fact they've been developing their instrumental chops for decades, and know how to right a damned good conceptual song, whether campy or genuinely intriguing. Surreal Overdose might only be the band's sixth proper studio album in over 25 years, but you'd be surprised at just how much it brings to the table: Everything.

Nothing is off the table here if it can contribute to a good song. From the band's traditional death thrashing aggression to the liberal dosage of traditional heavy/speed metal cast both in the core rhythms, dual melodies, to the time and effort placed into the lyrics, to Fowley's distinct vocals, both dour and emotional in each captured phrase. Deceased represents the very best of what any modern (or surviving) metal entity can achieve: quality compositional ability that manages to pay a wonderful compliment to all of its influences, but at the same time sounds incredibly fresh and important, as if it had just stepped off the pain train to convey your suffering. Cash on delivery. Those who are fond of the band's past works Supernatural Addiction (2000) and Fearless Undead Machines (1997) are in for a particular treat, because Surreal Overdose is every bit as memorable, if not more so.

Each track distinguishes itself very well from the next, with only modest similarities in the vocals or the volatile pacing. There are a good number of full on, raging relics like "Skin Crawling Progress" which draws upon everything from Voivod to Venom; or the uplifting intro to "The Traumatic" which quickly devolves into a paranoid instilling hostility (dig the belligerent drumming passages that cut through the volleyed verses); or the scathing, morbid thrash that heralds "In the Laboratory of Joyous Gloom". But they are also some strategic breaks in the action, if no less hair raising, like the clinical spikes of titillating melody that inaugurates the track "Cloned (Day of the Robot)" or the subtle, haunted texture of the guitars in the instrumental "A Doom-Laden Aura" which sets up the finale, "Dying in Analog" (what a title there). With the exception of that instrumental, there isn't a single cut here void of at least 4-5 breathtaking, exciting riffs, and even the leads flow with electrical enthusiasm.

What's more, Surreal Overdose possesses what must be the best production of any Deceased full-length to date: the guitars even more brazen than Supernatural Addiction, the rhythmic balance meticulous, the vocals hovering at just the proper level beyond the asylum window. It blows the previous disc As the Weird Travel On clear out of the airlock, in both quality and the actual sound. A love letter to the psychological breakdown of all humanity. In summation...what a rush! You don't get an album from these Virginians very often, so when you do, it's almost always guaranteed to keep you occupied for many listens. Surreal Overdose is no exception, and in fact, and I'll go so far as to say it's the best thing the band has ever stamped their logo upon. These are men who love metal. METAL. It's not a hoax. It's not a joke. It's not a laughingstock for suits and hipsters and 'cultured' fuckheads. If you can say the same for yourself, then you're about to become one album richer.

Verdict: Epic Win [9.25/10] (FEED THEM HORROR!)

http://upthetombstones.net/

Deceased - Supernatural Addiction (2000)

Fearless Undead Machines (1997) was a pretty good horror metal concept album, from one of Americas best old school advocates Deceased, but three years later they would trump that release with the more melodic, classic metal tinge of Supernatural Addiction, which I consider to be the band's strongest work to date. If you're a fan of the band's earlier, heavier work, fear not, because the primal death/thrash metal roots are abundant. But the injection of pure 80s inspired NWOBHM melodies into the mix adds a depth to the writing which simply did not exist in large quantities prior to this.

Like the cover art implies, the focus of this album is to celebrate the more cerebral, psychological side of horror than the visceral corruption covered on Fearless Undead Machines. The writings of Poe, the classic ghost story, the dark black and white horror of silent film, all of these are inherent influences which translate well into the lyrics. "The Premonition" is a driving track with some soaring if haunting melodies, and King's Venom-like voice is at its peak, mixed in extremely well with the rhythm guitars and leads. "Dark Chilling Heartbeat" has a pair of fine, winding leads to intro the shuffling, somber tone of the obvious tribute to Poe's Telltale Heart. "A Very Familiar Stranger" is a raging roadster based on The Hitchhiker. Other excellent tracks on the album include the blistering "Frozen Screams", the morose and beautiful "Doll With the Hideous Spirit", and the fright fest "Chambers of the Waiting Blind".

Six days and still they starve him as they offer mercy none,
For the hate it brews within them from his past,
In his body there is panic as he senses dread approaching,
He starts screaming for this torture ride to end

Like some of the past records, Supernatural Addiction uses a different sort of lyrical approach from the typical metal album; where the words simply speak the narrative of each tale, organized into a rough approximation of verse and chorus. I wouldn't call them poetic so much as a death metal Rod Serling sitting by the fireplace, recounting visions of the macabre. The mix of this album is simply unmatched by anything else in the history of the band, and like its predecessor, each track is loaded with a slew of riffs to explore. Few artists can balance such an excellent array of influences as King Fowley and crew, thus Supernatural Addiction winds up another cult classic for the ages. Whether you enjoy the pioneering thrash/death metal sounds of Possessed or Venom, or the more melodic NWOBHM/power/speed metal of the 80s, this album has many a moment for you. While I have never found any of their albums to be perfect, they are easily one of the more consistent metal bands of the past 20 years.

Highlights: Dark Chilling Heartbeat, Frozen Screams, Doll With the Hideous Spirit, Chambers of the Waiting Blind

Verdict: Epic Win [9/10] (it's here and there and everywhere and all so hideous)

http://www.myspace.com/undeadmachines

Deceased - The 13 Frightened Souls EP (1993)

Though they've evolved into the perfect vessel of NWOBHM-inspired melodic heavy metal meets filthy speed/thrash, Deceased started their career with a noticeably more death metal leaning. Granted, this has never quite escaped their sound, the influence of the prototype death metal acts (Possessed, etc) will always have its place in their writing. On the heels of their debut full-length, Luck of the Corpse, the band released this fine EP, which includes a few tracks from their 1989 Nuclear Exorcist demo and a cover of "Voivod".

The title track leads off the EP with a blistering, fast paced thrashing/death anthem oozing with filth. King Fowley's voice is unmistakable for its tortured, full tone. The guitars are crisp and, while the riffs aren't extremely catchy like on later Deceased albums, they are more than sufficient to transfix the listener with morbid energy. "Robotic Village" begins with a wailing sheen of feedback and some thrum before spitting another Slayer-like, brutal riff that alternates into a chug-a-long verse. During the bridge the band explodes into grind territory and some big hardcore/thrash grooves.

Detached senseless life brothers.
They march programmed by others.
In life forever they follow.
In death another lives shadow.....

The cover of "Voivod" is worthy enough, Fowley adding a punkish edge to his voice which is quite cool. The last two tracks are originally from their 1989 demo. "Planet Graveyard" has a melancholic melodic riff which foreshadows a lot of what the band would do with albums like Fearless Undead Machines and Supernatural Addiction. The verse riffs are fueled and grindy, though they wouldn't be special on their own, slathered in King's voice they create an authenticity and primal anguish. "Nuclear Exorcist" is my favorite track on the EP, with a punishing sound between Venom and Repulsion and a great acoustic blues during the verse.

The 13 Frightened Souls is conceptually inspired by cult horror and sci-fi films, and this paranormal/parascientific trend continues throughout all their releases. This fusion of theme and nostalgic death/thrash is one of the reasons Deceased is such a distinct act. Entirely true to their roots, but at the same time, actually doing something new with them, is the forte of this excellent band. One of our finest. Great EP.

Verdict: Win [8/10] (but we shall return all the madness)

http://www.myspace.com/undeadmachines

Deceased - Fearless Undead Machines (1997)

Ever the hybrid heralds of classic thrash, death and speed metal, Deceased have always been one of the treasures of the US scene. This 1997 opus is their strongest and most memorable work, and quite possibly the closest any conceptual metal album has come to capturing the pure zombie horror of the classic Romero 'trilogy'.

We're not talking simple slash and gore here, or 100 ways to eat a brain, what I mean is that King Fowley and crew have turned in a zombie album that is actually insightful, with ponderous lyrics that cover more than just the marching of the dead, but the scientific and religious implications of such an extinction level event. Does it have an answer? No. But it asks the right questions. You can feel the immediacy of the survivors of the outbreak, and their plight.

Musically the album is highly melodic and memorable without ever ignoring the energy and aggression of its death and thrash metal foundation. Fowley's distinct, gritty vocals are the perfect vehicle for this necromantic dystopia, while at the same time recalling the feel of Venom, Hallows Eve, and Tyrant. The true fuel for this undead fire comes from its raging guitars, churning out riff after riff of classic metal bliss. The production is organic, it almost sounds like you are listening to the band in their rehearsal room. Nothing is overdone, but the mix is perfect.

"The Silent Creature" opens with a sizable barrage of speed death and some satiable breakdowns and leads. "From the Ground They Came" is a lovely little instrumental piece setting you up for the excellent speed metal namesake "Night of the Deceased". Some of the better tracks like the raging "Beyond Science" and "The Psychic" compose the latter half of the album. Now it's not perfect, there are actually a few riffs among the crowd that weren't as interesting, though never truly detrimental to the vibe. The leads are memorable throughout, and kept fairly simple. Fowley is one of the best drummer/singers in the metal scene, and he's a great, busy drummer with an onslaught of beats.

This was over a decade ago, but for its time it was really a fine example of retro done right. Taking what has come before, paying your tribute yet putting together something new from the ashes of the 80s scene. Technically, they WERE part of the 80s scene, having formed in the middle of that flourishing decade. To that extent, this was a raging success and I don't believe I've heard a Deceased album since to match it. A lot of what made this so great carried through to the followup Supernatural Addiction, so if you love this you'll want to hear that too, as well as their back catalog previous to this. Essential listening for any fan of classic 80s speed, thrash and prototype death metal, or horror metal with more than typical depth to it.

Verdict: Win [8.75/10] (in death's costume now I live a lonely, empty corpse)

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