All posts by Andrew Edmunds

Last Rites Co-Owner; Senior Editor; born in the cemetery, under the sign of the MOOOOOOON...

Cardiac Arrest – Vortex Of Violence Review

Chicago death metal act Cardiac Arrest returns with Vortex Of Violence, their second album for Incantation mainstay John McEntee’s Ibex Moon Records. This band isn’t particularly known for expansionism or subtlety, so what you get

Mantas – Death By Metal Review

Behold the birth of Death… In 1984, future Death-mates Chuck Schuldiner, Kam Lee and Rick Rozz released the five-song Death By Metal demo under their original name of Mantas. Now, nearly thirty years later, Relapse

Cianide – The Dying Truth (Reissue) Review

Though I’ve been a fan of Master and Death Strike for ages, I must begrudgingly admit that it was a long time before I dug much further into the Chicago scene, and in not digging

Dehuman – Black Throne Of All Creation Review

There’s a never-ending argument, revisited ad nauseum, about the nature of originality and quality, specifically about whether a lack of originality automatically begets a lack of quality. If you’re of the narrow mindset that music

Primate – Draw Back A Stump Review

This band of damn dirty apes is made up of Brutal Truth vocalist Kevin Sharp, Mastodon guitarist Bill Kelliher and members of Atlanta’s The Despised, Otophobia and Javelina. Last year, a smaller version of Primate

Zombiefication – Reaper’s Consecration Review

For whatever reason, we here at Last Rites didn’t cover Zombiefication’s 2010 debut, Midnight Stench, so let me bring you up to speed: Zombiefication is a Mexican death metal band that sounds like a Swedish death

Stormcrow – Enslaved In Darkness (Reissue) Review

I came to the Stormcrow party around the time of their 2006 split with Sanctum, and it was something of love at first sound – in fact, I could listen to this kind of thing

Bible Of The Devil – For The Love Of Thugs And Fools Review

Of the four previous Bible Of The Devil offerings reviewed on this site, none scored below an 8. Those high scores were deserved, because those records were fun as hell; they were raucous rock’n’roll romps