Roger âRoggaâ Johansson
See also: Bloodgut, Bone Gnawer
, Humanity Delete, Paganizer
, Swarming, The 11th Hour
, The Grotesquery
, Those Who Bring the Torture
, ex-Foreboding, ex-Terminal Grip, Eaten (Swe), ex-Banished
, ex-Sinners Burn
Yes, thatâs quite the pedigree, right. If Iâd check how many releases with Rogga I bought in the last 5 years, Iâm sure I could come up with at least 10 records. Not that Iâm a fanboy but when it comes to Old-school Death Metal
meant for deathsters and not just Black Metal
rejects, Rogga is essentially everywhere. Just a week ago I had finished reviewing Humanity Delete, a solo project of his, and Iâm back at him again.
If I did find Humanity Delete to be just on par with other Roggamuffin releases, I am pleased to say that Megascavengerâs Descent of Yuggoth
is actually better and more varied than the regular d-beat infused Death Metal
I witnessed in Humanity Delete. Instead of d-beating, Megascavenger present a more traditional Death nâ Roll approach a la Swedeath. His vocals are still reminiscent at time of Greenwayâs but the heavy layers of effects added here and there give a whole different intonation. Guitars seem to have been cursed by lycanthropy and are more Wolverine
-like and sometimes, most notably on the closing track To Rebel with Vermin
, have even some kind of Deathrock approach (and to you ignorant fools, weâre talking more Christian Death than Pungent Stench
, grow up!).
Add to this that this is somehow laced with Lovecraftian mythos (Yuggoth is a planet lying on the outskirts of the Solar system which corresponds to Pluto
, discovered in the 1930s) and it gives us a rather interesting album, part Death Metal
, part Deathrock, which has its moments of brutality, catchiness and even some melancholy with those Deathrock guitars. If not unforgettable it is still memorable enough in its weird expression to linger, maybe, a little longer than other more generic Roggalicious projects.