First off, the release which sanctioned Apostasy‘s definitive return and majestic transformation into an imposing dark speed metal beast. After having briefly existed in the late 80s and early 90s as a pioneering thrash band in Chile’s early extreme metal scene, Apostasy returned in 2018 after thirty years of silence as a changed entity, almost as if its 30 years of dormancy had been lulled and nurtured by mysterious dark forces. While the 2018 comeback LP “The Sign of Darkness” marked Apostasy’s return from a dark past to even more malevolent ways, it is 2020’s “The Unknown Path” EP, with its heightened production and daring songwriting, which consecrated the legendary Chilean thrash legion as an unstoppable force of darkness. Across the EP’s 10+ minutes of pitch-black weaponized thrash domination Apostasy set the tone for their future reign and re-evoke the wrath and brilliance of early Slayer and Sepultura, Sodom and Destruction, mutating that glorious past of thrash metal’s darkest hour through the ominous and evil aura of black metal and reinterpreting it through an occult and esoteric form of prog-derived songwriting to reveal themselves as an absolute beast of thrash metal’s darkest fringe.
Buenos Aires’ Veneno propagate out of the Argentinan punk underworld with a blistering slab of black and demented hardcore punk vomited from the gutters of pure ruin and misery. An erratic and barely held together metastasis of black bestial punk, the “Camino de Espirnas” demo tape evokes embittered visions of alienation and withdrawal, exalting a musical primitivism and regression that works as an aural mirror to a backward society that is only getting worse and rapidly declining. The blackened vocals complement the album’s diseased aura of total filth, spewing vomited and bile-drenched narrative on unrest and social turmoil, while the band’s lurid cacophony beats the listener down face first into the dirt with feral abandon. The demo’s immanent sense of squalor and abjection seems to echo the work of certain primitive black metal/punk sycnretisms which emerged in the 80s, namely those of Hellhammer or G.I.S.M., materializing one of the crudest and most lightless punk releases that the South American punk underground has produced in years.
Brazil’s Obsoletion emerge from the gutters of São Paulo’s punk scene with a caustic raw punk deterioration of sanguinary unrest and grim abjection, evoking the despair and turmoil perpetually seething within the wounds of Brazil’s and South America’s imperialism-devoured and deeply divided and fractured society. In ten minutes of primitive rage and exploded nerves, Obsoletion dissolve the confines of sanity and invoke a primeval war, bringing together the wrecking vitriol of iconic raw hardcore acts like Cult Ritual, Gag, Glue and Raw Nerve to conjure the same darkened visions of a collapsed society and instigate primal instincts of boundless retaliation and upheaval.