Written by:	nikarg, musclassia, Abattoir, AndyMetalFreak, F3ynman2000
Published:	07.01.2024

Clandestine Cuts Volume 13, Issue #12
The Metal Storm Demo/EP Spotlight



Is independent, unsigned, and underground metal what you seek? Weary traveller of the metal world, rest here a while. Clandestine Cuts are the best demos and EPs from these bands, the heart and soul of metal music. These musicians are slaves to their passions, and their blood keeps the metal machine alive and turning. Support them with a simple listen, and discover the future.

Metal Storm users: you can vote in the poll below to choose your favourite demo/EP of the issue. The winners each year are nominated in our annual Metal Storm Awards, so exercise your rights: this is the one category chosen completely by YOU the readers. Make sure your favourite independent metal is recognized each year!

(Think your band has what it takes to be featured in the Cuts? Email demos@metalstorm.net to submit your music.)

In case you're new to this, go back and enjoy our last few issues:

Clandestine Cuts Vol. 13 #11
Clandestine Cuts Vol. 13 #10
Clandestine Cuts Vol. 13 #9

And now to the new music...

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Secrecy is a newly formed one-man black n’ roll project masterminded by Spanish musician Juan Ángel Ruiz, whose first offering is the simply titled four-track EP Black n’ Roll Damnation. Opening with what is described as a "Typical Heavy Metal Intro", this EP will prove to be anything but; rather than replicate the trad heavy sound, Secrecy instead follows in the vein of the mighty black n’ roll act Midnight. Throughout its eleven-minute duration, you'll be treated to four enjoyable groovy blackened heavy metal tracks, filled with ferocious yet deliciously melodic heavy metal riffs, stylistic drumming, groovy bass lines, and aggressive blackened punkish shrieks, all of which are terrifically performed by this one man with a bright and prosperous future in the metal world.

by AndyMetalFreak

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The Cult Of Grinning Martyrs (TCOGM) is an anonymous band, most likely named after the sophomore album of Russian band Lautreamont. Although both bands emphasize the unnerving side of black metal, TCOGM turns that insanity up to the max on their second demo release, simply titled MMXXIII. Frenzied drumming and unsettling riffs craft a sonic sensation that feels like plummeting into a yawning abyss. The progressive black metal instrumentation, alternating between dense oppression and eerie melancholy, is very reminiscent of the nightmarish soundscapes of Arizmenda. The one special element that truly sets TCOGM apart, though, is the bone-chilling, anguished vocal delivery. Like the horrendous cries of a demon, the vocalist offers tortured wails and screeches, adding immensely to the hellish atmosphere. A promising display of dissonance and despair! And hopefully there's more to come!

by F3ynman2000

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Glyph is a new international band, featuring members of Gatekeeper, Greyhawk, Hjelvik, and Ravenous. According to their Bandcamp page, their mission is to bring us tales from their home galaxy of epic space battles, exploding planets, and why they hate dragons so much. Unsurprisingly, the music is over-the-top, synth-full, symphonic, and anthemic power metal of the European kind, or, in other words, of the ABBA-loving kind. Of the three songs featured, the fist pumping-riff and the heroic-sounding chorus of the opening title track will stick in your memory for days, the keyboards of “Defy The Night” will lure the seekers of cheesy melody, and the vocal harmonies of “Honor, Power, Glory” deliver just what the title suggests. Glyph are way too talented and bombastic to continue releasing independently; they will surely be picked up by a label for their debut album, which cannot come soon enough.

by nikarg

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Burnt Offering, the debut recording from Canadian trio Pessimystic, follows up a relatively unique view on the concept of blackened death metal, one that is at times oddball and cacophonic. The opening track, “Conquer The Pantheon”, is almost melodic in its blackened riffing, but there’s also dissonance and unpredictability lurking under the surface, dissonance that plays a greater role on the more aggressive and multifaceted “Visions”. Blackened textures persist throughout, but as the EP progresses, Pessimystic integrate more experimental sounds (such as some peculiar solos on closing song “Omnipresent Malevolence”), as well as amping up the use of bruising low-end death metal riffs. It’s a record that contorts, that assaults, and occasionally confounds, at times bordering on the avant-garde, but it still has enough in the way of immediately visceral material to satisfy at both a surface and a deeper level.

by musclassia

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Bayrolles is a new extreme doom metal project from the frozen prairies of Canada, and their self-titled EP offers three songs that present slightly different takes of the death doom style. The opening track is more of a funereal procession, with its snail-like pace and its ‘tectonic plates rubbing together’-sounding riffs, “Moonlight” is the one that incorporates some clean vocals and more melodic elements, and also features a great solo, while “Seven Stages” comes across as the faster-paced and aggressive cut with blastbeats and all, bringing more death metal into the doom. The clean vocals in the end of this last track sound passionate enough, even though the actual delivery needs some improvement. Clocking in at half an hour, this EP has enough music to plunge into, and fans of death doom should appreciate the effort.

by nikarg

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In metal music, the band can exert the intensity and aggression in many ways, which is definitely something that cannot be taken for granted. The following performers are expressing that pretty damn well. The German quartet Inherit The Curse are generally labelled as blackened (death metal) hardcore purveyors, which might not be commonly heard, but it surely can be addressed as one of the sub-genres that defines their 8-track debut EP, Condemnation, and there is so much going on that you can barely follow. The relentless portrayal of hardcore, including unavoidable yet not excessive breakdowns. In passing, grindcore/power-violence sections are unleashing additional power and momentum to the whole music output. With a top-notch production and the whole set of instruments being tuned to the highest levels of loudness, you are condemned to suffer a fair share of noise here. And, combined with the fearless execution of ferocious vocal force by Stephanie Brettmann, Condemnation should not leave you equanimous. If this piece of music won’t break your fucking neck, then I don’t know what will.

by Abattoir

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