GAROTED – Bewitchment of the Dark Age

The United States has long been a leader in death metal. Many renowned bands hail from there, so it’s easy to think there’s nothing left to uncover. Yet the tradition remains strong, and new groups still embody it. Garoted stands as a prime example.

 

The project was founded in 2008 in Lincoln, Nebraska. The founding members were Nolan Weber (drums), Drew Frerking (guitar), Aaron Kieth (bass), and D. Stansberry (vocals). Just a year later, they started making a name for themselves with a demo. This was followed by their debut album, Praise Hate, Praise Murder, Praise the Beast. It featured rapid-fire blast beats, crushing grooves, and riffing inspired by the classics, already hinting at the band’s huge potential. Following that up wasn’t easy, but Garoted pressed on. They released Visions of Death and Destruction (2014) and Abyssal Blood Sacrifices (2017), developing a style defined by the violence and blasphemy typical of extreme Midwestern acts like Lecherous Nocturne and Angelcorpse. This sound was mixed with classic influences cherished by Deicide and Immolation. Their perseverance paid off with their fourth full-length, Bewitchment of the Dark Age. It was their first release under the respected underground label Lavadome Productions, rather than independently.

 

The album kicks off at full speed with opener Infernal Death’s Majesty. It hits with raw power from the very first note. Frerking dominates the track with punishing riffs and old-school solos. Weber’s drumming dazzles, switching from kick to splash in a millisecond and delivering mind-blowing rhythms. This is not a surprise, since he’s always been the backbone of the band. The real revelation is the new vocalist, Devon Ferrera. His versatile growl shifts from sharp to suffocating tones with ease. The second track, Black Canticle Of Horror, maintains the same intensity. Riffs lock seamlessly with tight drumming. Jonathan Tennant’s bass shines and aligns perfectly with the chaotic rhythms. Pestiferous continues in this vein. It features two breakdowns that sweep the listener into a brutal yet groovy whirlpool, with Weber’s tom work calibrated perfectly alongside a healthy dose of reverb. The album’s production is top-notch. Every instrument sits perfectly: precise, violent, and spontaneous. Garoted preserves death metal’s raw spirit without sacrificing clarity. The closing track, Harkening To The Age Of Blood & Plague, exemplifies this. After a war-drum intro, guitars erupt with relentless force in riffs and solos. Ferrera’s growl is ferocious, and the rhythms tighten further. Listeners are swept into a sonic hurricane. The experience carries them through every sensation the devastating yet flawless sound delivers, ending in a fading finale.

 

By the end, the conclusion is clear. This album avoids convoluted structures and captures the perfect dimension of U.S. blood-soaked death metal. Bewitchment of the Dark Ages stems from chaotic minds obsessed with speed. It is a blasphemous bomb, honed in classic death metal style and pushing boundaries. Its sound is timeless, rooted in an era of excess that Garoted has claimed for over fifteen years. This is a mammoth release, and one of the year’s best surprises.