THE 69 EYES
Back in Blood
(The End)
Goth ‘n Roll? I guess when you reach your 100th vampire
reference, you transcend glam and have to come up with your own genre. This
is not quite as unique as Type-O Negative in my opinion. I’m sot sure if it
is simply more calculated, or more tounge-in-cheek. Back in Blood?
Either way, The 69 Eyes are more straight-up hard rock, and have the added
bonus that you won’t have to listen to any songs about non-vampire or zombie
themes.
http://www.69eyes.com
[Laird Sheldahl]
AETERNAM
Disciples of the Unseen
(Metal Blade)
Rating - 8/10
Despite a terribly generic name, Aeternam are actually a
decent band that pounds out some pretty damn original melodic death metal.
The requisite heavy riffs, blastbeat pummeling and brutal vocals are present
but mixed quite skillfully with middle-eastern melodies, clean vocals and some
well-placed textural keyboards. The result is pretty much what I always hoped
Nile would sound like but never did.
From the opening intro piece, it is clear that Aeternam
have secured a quality producer for their debut record. The man at the desk
is JeF Fortin and he gives the music a real sense of scope that it needs, as
well as a killer drum sound (always important in my book).
Song-wise, the album never really loses momentum and
there are a few standout tracks. “Esoteric Formulae” features a main riff
that harks back to Entombed’s “Stranger Aeons,” while “Iteru” is a beautiful
acoustic number that neatly divides the album in half. The guitar-work
throughout the album is quite impressive, with some particularly tasteful
leads on pretty much every song.
The weakest link here is probably the death vocals.
While not bad really, they are pretty much standard issue death metal vox and
feel a bit uninspired compared to the rest of the music (and the clean vocals
for that matter).
Canada has produced many of the most original extreme
metal bands, from SYL to Crytopsy to Gorguts, yet I often find them a little
too esoteric to be enjoyable on a long-term basis. Aeternam is the first band
since Kataklysm to hail from the Great White North that manages to balance
technicality and originality with catchy riffs and memorable songs. Not bad
for a debut - can’t wait to hear what they have in store for an encore.
http://www.myspace.com/aeternammetal
[Daniel Hinds]
ARCKANUM
Fran Marder (Rating - 8/10)
Kostogher (Rating - 8.5/10)
Kampen (Rating - 8/10)
(Debemur Morti Productions)
Concentrating upon bands treading within the realm of
orthodox black metal, French label Debemur Morti Productions is one of the few
labels that you can count upon to release a top quality album each and every
time. Case in point is one-man Swedish act Arckanum. Although Arckanum has
been a member of DMP’s roster since the original release of the Antikosmos
EP (prior to the release of the full-length of the same name) from 2004,
Shamaatae’s (the brains behind Arckanum) early work has become increasingly
hard to find. With that in mind, DMP re-issues the first three full-lengths
from Arckanum, Fran Marder, Kostogher, and Kampen, all
originally released on the now defunct Necropolis Records in 1995, 1997, and
1998, respectively. All three albums come encased in digibook packaging, and
are enhanced with an improved layout and liner notes. The cover art has been
changed, adopting a monotone, utilitarian theme for all three albums. Each
album is remastered, resulting in a clear sound for each of these somewhat
overlooked masterpieces of mid 90s black metal.
For those of you not familiar with Arckanum’s early
releases, the albums show a progression in Shamaatae’s art as he approaches
his chosen subject matter in a subtly different manner with each. Fran
Marder is rather noisy black metal with high-pitched rasps, some rough
guitar work, and variations in tempo. Kostogher is a huge leap forward
with a lower pitch to the music, a concentration upon rolling speed, and a
gigantic majestic feel with mournful melody seamlessly incorporated into the
assault. The songwriting is excellent, as well, resulting in some very fast,
yet insanely catchy, songs. Of the three, I must admit that, in my opinion,
Kostogher is the best. To conclude, Kampen combines the best
qualities of the two previous albums with a clearer production than
Kostogher, but with better musicianship that Fran Marder.
At any rate, needless to say, all three albums are highly
recommended for anyone looking for high quality, yet somewhat obscure, black
metal. If you’ve previously missed out on Arckanum’s early releases, here’s
your chance to get caught up. What the Hell are you waiting for?!
http://www.debemur-morti.com/
http://www.myspace.com/officialarckanummyspace
[Dave Schalek]
ARSIS
Starve For the Devil
(Century Media)
Rating - 7.5/10
Arsis is a band that I had written off at some point as
yet another trendy metalcore band or similarly uninteresting entity. This
despite the fact that there is a perfectly detailed review of the band’s debut
in The Plague from back in 2004 that makes it pretty clear that Arsis is
nothing of the sort. Long story short: I’m glad I sat down and actually
listened to Starve For the Devil.
Opening track “Forced to Rock” might actually be my
favorite on the record, despite the fact that it isn’t all that representative
of the band. While much of the material is in melodic death vein of bands
like Arch Enemy and the like, “Forced to Rock” has a more straight-forward,
death ‘n’ roll appeal that reminds me of bands like Witchery and Absurdus from
the late 90s. The rest of the album has a bit more of a serious approach,
balancing heaviness and melody nicely. “Beyond Forlorn” and “Half Past Corpse
O’Clock” are probably the most memorable cuts, with some of the album’s latter
material treading dangerously close to filler territory (notably “The Ten of
Swords” and the forgettable “Sick Perfection”).
Mainman James Malone does an excellent job of arranging
songs that are engaging and flow remarkably well, not to mention laying down
some top-notch leads along the way. James’ vocals are gruff but actually
quite intelligible and tend to have a more thrash feel than black or death
metal, helping to further identify Arsis’ own style.
Production is handled by Zeuss, who has worked with a
number of bands that I despise, but he delivers a totally professional and
appropriate sound to this record. The drums cut through without sounding
overblown or inorganic, while the guitars have a nice thrashy bite.
When firing on all cylinders, Arsis is really hard to
match at what they do. It’s a shame that only about half this album falls
into that category, but even at its worst, Starve For the Devil is
quite listenable and the good bits are well worth getting the whole package
for.
http://www.myspace.com/arsis
[Daniel Hinds]
AT VANCE
Ride the Sky
(AFM)
Rating - 7/10
At Vance is one of those names I have seen many times
over the years, yet somehow managed to never get a proper dose of their sound
until now. Looking back at their early albums, they seem notable mainly for
covering ABBA songs and stealing Warlock’s album art. Still, these Germans
have built a fairly unique style over the past decade that mixes 80s hard rock
with 90s power metal, all recorded and presented with pristine clarity.
The title track opens the proceedings, moving at a good
pace and crossing elements of Turner-era Rainbow with a more modern metal
edge. Vocalist Rick Altzi (who is also fronting Thunderstone and a couple
other bands at the moment) has a rich, bluesy voice that lends itself
especially well to the more classic sounding numbers like “Fallin’” and
“Burning Like Fire.” A cover of the timeless “Wishing Well” is an excellent
choice and well executed, nicely balancing the other cover, namely Vivaldi’s
“Summer (2nd Set).” The more metallic numbers like “Last in Line”
and “Power” are good but somehow less engaging, while the ballad “You and I”
is just a snoozer.
At Vance are one of those frustrating bands where the
musicianship seems to outshine the songwriting skills, making for an enjoyable
but somewhat unsatisfying listening experience. Still, forgetting
expectations and just focusing on what is here, Ride the Sky is a
decent album and worth checking out for any power metaller out there.
http://www.at-vance.com
[Daniel Hinds]
BARN BURNER
Bangers
(Metal Blade)
Rating - 6/10
After reading the press sheet with tantalizing
comparisons to everyone from Thin Lizzy to Fu Manchu, I was expecting
something quite spectacular from this Canadian outfit. The resulting debut
album, Bangers, is sadly a bit of a letdown.
The stoner rock element is present, for sure, but it
reminds me more of the boring latter-day C.O.C. material than anything else -
loud and chunky but also somewhat tedious after a bit. While most of the
songs failed to engage, “Runnin’ Reds” has some nice Fu energy and “Half Past
Haggard” includes some fairly intriguing riffs. “Tremors” also gave me a nice
flashback to Def Leppard’s first album, specifically “It Don’t Matter.” The
flat vocals tend to kill the band’s sound for me though, particularly on
tracks like “Wizard Island” and “Fast Women.”
Barn Burner fall generally into the same category as
bands like Orange Goblin, Tad and High on Fire: thick, muscular heavy rock
with forceful vocals and not much in the way of subtlety. Somehow though the
magic didn’t quite hit Bangers, at least to my ears, but I think their
hearts are in the right place.
http://www.myspace.com/theinfamousbarnburner
[Daniel Hinds]
THE BEAST OF THE APOCALYPSE
A Voice from the Four Horns of the Golden Altar
(Transcendental Creations)
Rating - 6.5/10
This is the first outing from The Beast of the
Apocalypse, a new duo hailing from The Netherlands. The chosen stylistic
approach is clearly black metal, though it definitely leans towards the more
primitive/ritualistic end of the spectrum. The results are mixed but suitably
promising for a debut.
Based on the name and verbose song titles, I was
expecting something a bit more experimental or majestic but the six songs on
offer are all pretty straight-forward and punishing. Alternating between
fast, mind-numbing riffs and slower, doomier bits, the tunes don’t offer to
much in the way of diversity. Perhaps the most interesting number is “And
They Withdrew Up to Their Heavens,” which proceeds in typical barbaric fashion
until a break halfway through where the keyboards lift and take flight solo
into a nice ambient trance realm before plunging headlong back into the
inferno. The funereal “Twins of Jesus” closes the album on a high point, too,
offering the heaviest and darkest atmosphere on the album.
The vocals are harsh and demonic, with perhaps a bit too
much reverb for their own good as they tend to get lost in the mix. The
guitars are overdriven to the point of near incomprehensibility, sounding like
an FM station a couple of ticks out of tune on the faster numbers. It works
okay to engender the proper kvlt mood but tends to also accentuate the
somewhat repetitive arrangements. Keyboards are used to fairly good effect
but it is the guitars that drive the music more than anything.
Fans of the gritty side of black metal, whether it is
older Darkthrone, Xasthur or even Hellhammer, this may be of interest to you.
It’s not brilliant or terribly original but it has its moments and hopefully
they will build upon this foundation in the future.
http://www.myspace.com/tbota
[Daniel Hinds]
BLACK ANVIL
Time Insults the Mind
(Relapse Records)
Rating - 8.5 / 10
I must admit that I’m late to join the Black Anvil
bandwagon. A few months back, a huge amount of interest accompanied the New
York trio’s debut full-length, entitled Time Insults the Mind and
released on Relapse Records. For whatever reason, I simply didn’t get around
to listening to the album until after catching the band in an opening slot for
Marduk a few weeks back. I was so impressed by Black Anvil’s performance that
Time Insults the Mind leapt to the top of my priority list.
My original take on Black Anvil was that of a band playing some old school
death metal influenced by Celtic Frost with perhaps a bit of Motörhead mixed
in to the delivery, primarily reinforced by Raeph Glicken’s gigantic
percussion. On record, however, the Motörhead influence is probably not there
after all, but Celtic Frost does come through, and not just because the band
covers “Dethroned Emperor” at the album’s conclusion. Taking some mid-paced,
80s-era black/ death metal as a base, Black Anvil hit some huge, very catchy
riffs that deeply reverberate, resulting in a deep sound that will remind you
somewhat of Morbid Tales. However, Black Anvil diverge from Celtic
Frost at this point, as the band’s musicianship is certainly better than that
of Warrior et al at that point in Celtic Frost’s career. In addition, perhaps
most importantly, two factors increase Black Anvil’s accessibility over that
of early Celtic Frost. First, the songwriting is excellent with a great deal
of variation, with lots mid-paced dirges reinforced by some speedier moments
(not that Warrior’s songwriting skills were poor, but Black Anvil seem more
mature at this stage in their career, as opposed to Celtic Frost). Excellent
riffs abound throughout, as well, with a few unusual guitar effects added.
Second, Black Anvil inject a certain amount of melody and catchiness that
elevate the album above the early death metal base and, at times, approaches a
sound more akin to traditional heavy metal.
Black Anvil’s strivings towards accessibility will probably turn off purists
of the death and black metal genres, but Time Insults the Mind is an
excellent debut album featuring a nice blend of different genres and
influences, all the while retaining a very heavy sound. Black Anvil have a
bright future and this album comes highly recommended.
http://www.relapse.com/
http://www.myspace.com/blackanvilny
[Dave Schalek]
BRAINSTORM
Memorial Roots
(AFM)
Rating - 8/10
Brainstorm has established themselves over the past
decade as not only one of Germany’s premier power metal acts but one of the
world’s best metal acts, period. Albums like Downburst and Soul
Temptation are packed with stellar performances and memorable tunes,
finding the perfect balance between classic heavy metal and modern power
metal.
Memorial Roots is not as immediate as the last few
albums, focusing more on moody, mid-tempo and slower numbers like opener
“Forsake What I Believe” and “Nailed Down Dreams.” Still, there is plenty of
heaviness to go around and even some speed on “Cross the Line,” so it is a
typically well-balanced Brainstorm album in that respect. The obvious
‘singles’ (or at least the catchiest tracks) are “Shiver” and the driving
“Ahimsa.” There are a couple of borderline filler tracks, namely “Blood Still
Stains” and “When No One Cares,” but the majority of the record lives up to
the Brainstorm standards nicely.
For those not familiar with Brainstorm, defining their
sound is not that easy as they don’t sound much like anyone else currently in
the power metal genre. Vocalist Andy B. Franck (also of Symphorce) has a very
distinctive and powerful voice, sticking mostly in the mid-range but capable
of quite a range when required. The songs are very riff-oriented, with some
well-executed choruses that stand out without sounding overblown.
My first reaction to Memorial Roots was similar to
my reaction to Sentenced’s Crimson when I first got it - kind of
disappointing, esp. after a truly brilliant record (Frozen in the case
of Sentenced and Downburst for Brainstorm). Much like Crimson,
however, each spin has revealed a little bit more of the record’s excellence
and I foresee Memorial Roots being a definite grower, a long-term
investment.
http://brainstorm-web.nicowobben.com
[Daniel Hinds]
BROWN JENKINS
Death Obsession
(Moribund Records)
Rating - 6.5/10
Brown Jenkins were a duo (although, main man Umesh Amtey
was largely responsible as the creative force behind Brown Jenkins) from
Austin, Texas that have recently split up. Death Obsession is the duo’s
second, and final, full-length, posthumously released on Moribund Cult
Records. I’m somewhat familiar with Brown Jenkins’ previous output, having
reviewed the duo’s first full-length, Angel Eyes, some time ago. That
album was characterized by extremely low-fi, slow to mid-paced raw black metal
with a concentration upon really twisted, dissonant, sloppily played guitar
riffs that drip with slimy atmosphere. A challenging listen to say the least,
Angel Eyes had just the right amount of songwriting skill to engage the
listener and allow the listener to look beyond the intentionally horrid sound.
Death Obsession pretty much continues where Angel Eyes left off.
A slightly deeper sound to the guitar is present, but Death Obsession
continues with an album full of weird, twisted riffs that are sloppily played,
deep howls and growls from Amtey, and a generally mid-paced tempo with
percussion that periodically seems to drift and lose its way. Once again, the
listener is challenged, but this time around the songwriting isn’t just up to
par. Angel Eyes worked because of a certain amount of variation to the
mess, and an ability to draw in the listener. Those qualities are somewhat
lacking on Death Obsession, as I find the songs to be not nearly as
engaging, or interesting. To these ears, there’s a lack of variation to the
music; that is, very similar riffs and pacing are present in each song, and my
attention starts to waver deep into the 60 minutes plus album.
Umesh Amtey has stated that Brown Jenkins is now over and he will be embarking
upon a new project called The Ash Eaters. Although I found this final release
from Brown Jenkins disappointing, I do await new projects from Amtey with
interest.
http://www.moribundcult.com/
http://www.myspace.com/brownjenkins13
[Dave Schalek]
DARK CELEBRATION
Phlegeton
(Paragon)
This Brazilian death metal outfit serves up some melodic
death metal that sounds like it came from 1989. For the most part, the riffs,
vocals and drums are fairly crisp, clean and distinguishable, with occasional
forays into more black-metalish double kick rolls and guttural noises. The
vocals, however, tend to be all over the map, while the rest of the band
serves up a much more cohesive death metal album. The contrast between the
chaotic vocalist and the precision of the instrumentalists is a distraction,
which is too bad, because this album is otherwise pretty fun.
http://www.myspace.com/darkcelebration666
[Laird Sheldahl]
DARK FORTRESS
Ylem
(Century Media)
Rating - 8.5/10
Having been suitably impressed with 2003’s Profane
Genocidal Creations, it’s a shame that I managed to lose track of this
German powerhouse until now. With several more albums under their belts in
the interim, it’s not surprising that Ylem sounds considerably more
polished and professional, yet retains much of the blackened charm that caught
my attention in the first place.
The title cut opens the proceedings in no uncertain
terms, as it flows between blasting speed and grinding, mid-tempo riffs
beautifully. “As the World Keels Over” showcases the more melodic side of the
band, with a good deal of tasteful lead playing throughout. It also displays
the subtle touch that drummer Seraph lends to his playing. On “Silence,” we
get to hear vocalist Morean execute both his raw, grim style as well as the
deeper, more ritualistic vocal approach. The gloomy, doomy vibe that I
remember working so well on the band’s earlier material is still in effect,
with tracks like “Redivider,” “Hirudneans” and the epic “The Valley” dripping
with melancholy and ceremonial dread. But the band is equally adept at
blasting, in-your-face attacks, most notably “Satan Bled” and the
aforementioned title track. The bottom line for all the songs though is
heaviness, with a full, thick production lending extra weight to the bruising
guitars and drums.
Given the band’s image and name, it’s probably hard for
Dark Fortress to avoid Dimmu Borgir comparisons, but it’s really not valid
from a musical perspective. Dark Fortress play a far more understated,
melancholic and, in a weird way, accessible brand of black metal that I think
fits better with the likes of Graveworm and Keep of Kalessin without sounding
like them. It’s all about building an atmosphere and fleshing it out with
keen musicianship and the proper balance of melody and brutality. To that
end, Dark Fortress have truly become masters.
http://www.myspace.com/darkfortress
[Daniel Hinds]
DARK TRANQUILLITY
We Are the Void
(Century Media)
Rating - 7/10
Dark Tranquillity is one of those frustrating bands that
is good, consistent, helped spawn a genre, and yet never seems able to fully
realize their potential. We Are the Void sounds very much like a Dark
Tranquillity record, for better or worse, with their patented brand of modern
melodic death metal, Mikael Stanne’s gruff vocal delivery and the tasteful use
of keyboards. If you liked Character and Fiction, you should
like this one as well, though conversely, if you already own those records,
there’s not much need to get this one, since they covered the same ground with
better material.
“Shadow In Our Blood” opens the album nicely. It starts
off with a fairly moody, mid-tempo riff but once the vocals kick in, the drums
kick up several notches and you get DT blasting away at their finest. While
never as blatantly commercial as In Flames or Soilwork, it is clear that Dark
Tranquillity like to stay current and tracks like “In My Absence” and “Her
Silent Language” should appeal to the Hot Topic crowd. The latter even
features some clean vocals, which, frankly, have never been Stanne’s strong
suit.
Although generally good and very much in line with
previous DT albums, We Are the Void is a bit of a disappointment
overall. It starts off strong but loses power after a few tracks, with only
“I Am the Void” and “Surface the Infinite” appearing near the end to wake up
the drowsier listeners. Where albums like The Gallery and Haven
were bold, fresh ventures for the band, We Are the Void feels too much
like a rehash of previous ideas.
http://www.darktranquillity.com
[Daniel Hinds]
DIMENSIONAL PSYCHOSIS
Architectures of Reality
(Daemon Worship Prod.)
Rating - 7/10
The colorful, cosmic cover art is a fair representation
of the complex brand of death/black metal this Dutch outfit trade in. Harsh
vocals ride atop a storm of crazed riffing, breakneck tempo shifts and a
neo-progressive sense of technicality throughout. The result is impressive
but a bit exhausting after a bit as well. Fans of latter-day Emperor and more
avant-garde acts like Dødheimsgard and Arcturus will no doubt love this disc.
Right from the start, the most striking element of
Dimensional Psychosis’ sound is drummer Mysteriis. His playing is simply
pulverizing and manages to be technical without sounding sterile or
computerized - a nifty feat. The guitar work is nearly as impressive, all
angles and venom, while keyboards are used as effective texture and provide a
great deal of the cosmic scope of the album. “Kaleidoscope Reversed” is a
good example of everything Dimensional Psychosis does well, rampaging through
various different riffs and tempos before settling into astral ambience.
“Singularity” on the other hand is probably the most concise and relentlessly
intense track on offer.
With the massive exception of the untitled
electronic/experimental track that closes the album (reminds me of Dark
Tranquillity’s “Archetype”), the remaining tracks all fall into a similar
vein, making Architectures of Reality a very consistent and
consistently brutal release. The net effect can be a bit too much to take in
one sitting but there is no denying the quality of what Dimensional Psychosis
has put together here.
http://www.dimensional-psychosis.com
[Daniel Hinds]
DIVINE EVE
Vengeful and Obstinate
(Ibex Moon Records)
Rating - 8/10
The explosion of OSDM shows no signs of a letup as 2010
begins, and Ibex Moon Records is at the forefront with two quick releases out
of the gun. First up is a four-song EP from the recently resurrected Divine
Eve. Originally formed in the early 1990s, Divine Eve managed a couple of
demos and an EP from 1992-94 before breaking up.
The three original members of the band have reformed as
an intact unit, and are now releasing their debut EP for Ibex Moon Records,
entitled Vengeful and Obstinate. I’m not familiar with Divine Eve’s
prior output, but Vengeful and Obstinate is a generally mid-paced
affair of OSDM with a few doom inspired influences. I’m greatly reminded of
Morbid Tales-era Celtic Frost by Vengeful and Obstinate with a
similar tone to the guitar, Warrior-esque vocals, and simple, yet catchy,
rhythm patterns that vary from a slow dirge to a gallop. Doom seeps into the
music with a few deep brass tones that carry great weight.
Although nothing new, which isn’t really the point,
anyway, Vengeful and Obstinate is an enjoyable slab of OSDM throughout
the EP’s 17-minute length. I would think that a proper full-length from Ibex
Moon Records is now in order. In short, Vengeful and Obstinate is
recommended.
http://www.ibexmoonrecords.com/
http://www.myspace.com/divineeve2008
[Dave Schalek]
DREAM EVIL
In the Night
(Century Media)
Rating - 8/10
Fredrik Nordström and co. are back with their fifth
effort, sticking very much to the same formula of larger-than-life heavy metal
that is equal parts melody and bombast. While I don’t feel the material here
is up to the standards of The Book of Heavy Metal or United, it
is pretty close and much more consistently good than the band’s first couple
of albums.
Kicking off with the anthemic trio of “Immortal,” “In the
Night” and “Bang Your Head,” it is clear the lyrical approach hasn’t changed
any, following in the footsteps of bands like HammerFall and Gamma Ray.
Niklas Isfeldt is still one of the most powerful vocalists on the scene at the
moment and he can really belt out the Halford-esque screams when he wants to.
“See the Light” shows a more serious approach, with a classic Dream Evil
chorus, while “Electric” is a more modern, hard-charging rocker that will have
you shouting “It’s electric!” after just one spin. “Mean Machine” kicks off
with a classic Accept riff and “Kill, Burn, Be Evil” has some of the more
entertaining lyrics on the album, as the title clearly indicates. Closing the
album is “The Unchosen Ones,” the most epic-sounding track thanks to the use
of strings and big chorus, yet still clocks in at only 3:35.
As good as most of the record is, there are a couple less
thrilling moments. “Frostbite” is rather forgettable all around and “The
Ballad” is just a disaster, from its cheesy (in a bad way) lyrics to its sappy
piano-led power ballad approach. While I think Dream Evil has put together
one or two good ballads in their career, they are generally terrible at it and
this one has to be the worst one yet.
While I can appreciate a good heavy metal anthem, the
‘metal is the only way’ sentiment is perhaps a little overdone this time out.
Still, it is hard to stay mad at an album that is so well produced and played
and contains many truly riveting headbanging tracks. Not Dream Evil’s finest
but a strong statement nonetheless.
http://www.dreamevil.se
[Daniel Hinds]
FINNTROLL
Nifelvind
(Century Media)
Rating - 8.5/10
One of first and best bands to mix folk music with black
metal, Finntroll are back with probably their most diverse release to date.
With their traditional mix of humppa, black metal riffs and grim vocals,
Finntroll expand their palette to include some interesting tribal and
orchestral elements to create a truly unique sound.
Following a very epic intro, “Solsagan” kicks in with
speedy riffs and blastbeats galore. “Den Frusna Munnen” follows a very
different lead, coming across like a metalized version of the Jan Hammer
Miami Vice tunes whenever the action shifted to South America.
“Galgasang” and “Ett Norrskensdad:” broach more traditional folk territory,
with effective use of banjo, fiddle and clean vocals thrown in the mix, while
“I Tradens Sang” is pure manic energy and “Mot Skuggornas Varld” has an almost
Nightwish feel with its chunky riffs and symphonic grandeur. Perhaps most
unusual of all is “Fornfamnad,” with its mix of metallic extremity and some
kind of horror cabaret.
It’s nice to see a band like Finntroll still going
strong, with Nifelvind rating as one of their best albums and probably
their most diverse yet. Their continued refusal to sing in English also shows
a clear artistic approach, favoring their vision over potential commercial
gain. Another successful release in a career that has already spanned over a
decade.
http://www.myspace.com/officialfinntroll
[Daniel Hinds]
HEADHUNTER D.C.
God’s Spreading Cancer
(Ibex Moon Records)
Rating - 8.5/10
Next up from Ibex Moon Records is a continuation of the
recent revival of OSDM, Brazilian style, courtesy of the label’s recent
signing of Headhunter D.C. Headhunter D.C. are a long-running mainstay of the
Brazilian underground, having been kicking around in one form or another since
the late 1980s (the band’s first releases were on the now legendary Cogumelo
Records). Obviously, the band’s influences would be Sarcofago, early
Sepultura, and other like-minded acts, but, for whatever reason, the band’s
exposure to the greater worldwide death metal community has been limited.
Kudos to John McEntee and Ibex Moon Records for signing the band and giving
Headhunter D.C. some much deserved exposure.
With that in mind, Ibex Moon Records’ first task is to
re-release Headhunter D.C.’s most recent full-length. Originally released in
2007 by Dying Music and Obscure Domain Productions, Ibex Moon Records’ release
of God’s Spreading Cancer consists of the album’s original eleven
songs, plus a Necrovore cover from an earlier release, and three live tracks.
Although originally released on a small label, God’s Spreading Cancer
has a powerful, deep sound and is a no frills, straight ahead assault of OSDM.
Headhunter D.C. play fairly standard death metal with lots of thick riffs
overlaying all-out blasts. The songwriting is also quite good with plenty of
slower moments of groove mixing things up a bit, resulting in a very catchy
album.
In short, God’s Spreading Cancer is a solid
release of OSDM from genre veterans that have a total of four full-lengths
under their collective bullet belts. No new material has appeared from
Headhunter D.C. since 2007, but I suspect that will rapidly change with the
band’s addition to Ibex Moon Records’ quality roster. Highly recommended.
http://www.myspace.com/headhunterdc
http://www.ibexmoonrecords.com
[Dave Schalek]
INSULT
Abysmal Incantations
(Daemon Worship Prod.)
Rating - 7.5/10
Now this is some old-school death metal done with style!
A relatively young band from Sweden, this 11-song disc compiles the band’s
2005 and 2008 demos, Decree and Axiom, respectively. Heavy,
grinding riffs, blasting drums and the requisite cookie-monster vocals are all
present, while light, life and melody are generally quite absent.
Although the Decree material has its moments, it
is the Axiom tunes that really make this worth checking out and the
band wisely placed them first. “Blitzkrieg 666” kicks off with a wonderfully
dark riff and flows smoothly across a variety of tempos. The band’s sound
here is tight yet organic and diverse without sounding overly technical,
calling to mind elements of classic Grave, Autopsy and even Obituary. “Slaves
of Holy Righteousness” is a fairly speedy blast, while “Manhunt” evokes a
gloomier, more sepulchral side to the band’s sound.
The Decree tracks are considerably less produced,
with some bonky drums and buried vocals tending to submerge otherwise decent
(if less original) material. The driving “Unholy Triumph” and the fragmented
structure of “Diabolical Decree” are the highlights of this half.
The thing I appreciate the most about Insult is the lack
of pretension and the emphasis on creating that dark, brutal death metal
atmosphere. The songs are straight-forward yet compelling and short enough to
keep your attention, especially on the newer material. The progression
between the two demos is quite noticeable and certainly bodes well for the
full-length release that is currently in the works.
http://www.myspace.com/insultband
[Daniel Hinds]
LAUDANUM
The Coronation
(20 Buck Spin)
After nearly 20 minutes of experimental noises, we are
finally treated to something I can positively identify as metal. Not that I
would claim slow and sludgy have no place in metal music - far from it. It’s
just that this album wanders well into the realm of experimental noise that I
associate more closely with industrial music before some heavy guitars and
gravelly vocals give me any frame of reference. Are those synthesizers, or
just feedback run through too many octave dividers? Its… unsettling,
upsetting, and unpredictable and I recommend checking it out.
http://laudanum.org
[Laird Sheldahl]
LITURGY
Renihilation
(20 Buck Spin)
This experimental, indie black metal starts slow, then
explodes hard, fast and stridently and seldom relents. Dual guitars battle it
out in the left and right speakers, mostly racing through the upper ranges of
dissonance and only once or twice dip into the realm of something chunky.
Oddly, though, this album is so often unrelentingly fast that it begins to
become no more than a drone, and then, without alerting the listener, the
album is truly droning. It’s a pretty cool effect, which makes this
relatively simple formula work for a whole album.
The drums are stripped down to suit one goal and one goal
only: speed. And the vocal screams compete with the high-end dissonance of
the dual guitars—either that, or the vocals add to the dissonance, I’m not
sure which. There’s really nothing fancy about this album, although I’d have
to call it “experimental” for its sheer amount of noise and lack of
predictability. Lastly, I’m not quite sure how to say this, but the album
nearly sounds like the musicians didn’t actually listen to each other when
they recorded this album - the point, it seems, isn’t so much to write black
metal songs, as to emit black metal vibe, and to do that Liturgy uses speed
and dissonance and more audio combat than musical cooperation. Is that a
condemnation, or a compliment? I guess you decide.
http://www.myspace.com/liturgynybm
[Laird Sheldahl]
MEGASUS
Megasus
(20 Buck Spin)
Rating - 7/10
Megasus are a stoner metal quartet from Providence, Rhode
Island, releasing their self-titled debut full-length on 20 Buck Spin Records,
a label with an eclectic roster of acts. Right off the bat, Megasus have
garnered some notoriety since the band members are employees of Harmonix, the
manufacturer of the popular Rock Band and Guitar Hero video games (I’m sure
you’re familiar; I, however, am not). It should probably come as no surprise
that Megasus’ music appears in these games.
At any rate, all gimmicks aside, Megasus play decent
stoner metal that reminds me of early Monster Magnet (with, perhaps, a bit of
Eyehategod thrown in for good measure), but with more concentration upon a
faster pace as opposed to the drawn out, meandering “Satanic drug thing”
typical of Monster Magnet’s early releases. Megasus employ a low-fi buzz to
the guitars (similar to early Monster Magnet), a thick bass, and rather weak
sounding drums, somewhat robbing the music of some needed heft.
As would be necessary in stoner metal, there are lots of
huge riffs spread out over this debut, along with variations in tempo ranging
from a few slow dirges to a couple of near gallops. The slow dirges are
particularly effective, and feature plenty of gigantic riffs and screams,
garnering Megasus comparisons to Eyehategod. A couple of tracks that
concentrate upon psychedelic atmosphere round out the album, a rather short,
seven-song affair.
Overall, the debut from Megasus is adequate and
demonstrates the band’s promise. Unfortunately, though, the songwriting is a
bit uneven as a good portion of the album isn’t particularly memorable. Stoner
metal works best with very catchy riffs, and, although the album has some good
moments, those moments are few and far between. This self titled debut ends up
as a release that doesn’t quite live up to expectations, and I come away
disappointed.
http://www.20buckspin.com
http://www.myspace.com/wildpower
[Dave Schalek]
MOB RULES
Radical Peace
(AFM)
Rating - 8.5/10
Having named themselves after my favorite Sabbath album,
Mob Rules was ahead of the game in securing a spot in my heart. My previous
encounters with these Germans were the Temple of Two Suns disc (good
but a bit generic) and then much later the semi-conceptual Ethnolution A.D.
(more original but almost too polished and melodic).
Happily, Radical Peace continues the quality of
the last album but adds a slightly heavier edge to the proceedings. “Children
of the Flames” has a nice chunky groove to it, kind of a mix between
Brainstorm and Cornerstone, while “Trial By Fire” has a slightly more regal
flair but is even heavier. “Warchild” isn’t quite a ballad but is far more
mellow and falls a bit flat, but thankfully “Astral Hand” follows it up with
one of the catchiest riffs and choruses on the album.
The centerpiece of Radical Peace is “The Oswald
File,” a conceptual piece that centers around the JFK assassination and spans
over 18 minutes. Unlike may ‘epic’ tracks, this one actually works quite well
due to a thoughtful arrangement, prudent use of audio samples, and a theme
that hasn’t been done to death already (okay, Saxon did it, but that was 30
years ago). “Waiting For the Sun” features another big chorus and the solo
bridge has a very classic metal feel to it, while “The Glance of Fame” closes
the album perfectly, evoking old-school Queensryche at their best.
One thing Mob Rules has really mastered is the inclusion
of keyboards that make a bold impact without overpowering the other
instruments. From delicate piano lines to sweeping string sections, it is all
very beautiful. Also, Klaus Dirks’s voice has that rare combination of power,
grace and distinctiveness that seems all too rare these days.
Fans of overly technical or speedy power metal might be
disappointed with Mob Rules, but anyone who can appreciate melodic heavy metal
with class and smarts is sure to find Radical Peace a must-have.
http://www.mobrules.de
[Daniel Hinds]
MR DEATH
Detached From Life
(Agonia)
The fake VHS horror movie cover is perfect for a death
metal band, even if the band name Mr. Death leaves a bit to be desired.
Still, there is nothing wrong with this album - it’s just plain death metal.
If you don’t own enough Cannibal Corpse, then check this out. Simple,
straight-forward, no artificial sweeteners or preservatives, nothing clever to
get in the way of buzzsaw riffs and guttural vocals about murder and the
undead. Actually, the more I think about it, the more appropriate the band
name “Mr. Death” seems - brutally simple and straight-forward.
http://www.mrdeath.se
[Laird Sheldahl]
NECROPHOBIC
Satanic Blasphemies
(Regain)
A collection of Necrophobic’s previously (mostly)
unreleased demos, these types of albums are always somewhat redundant to
review. You either need more of this band, or you don’t. Still, as far as
demo-albums go, this one is one of the more listenable ones I’ve heard. From
these tracks, it is not too difficult to understand why this band has gone as
far as they have. What is a surprise is these are straight-forward death
metal tracks. Again, if you are a fan, then hey, you can buy this, and if you
aren’t, then hey, don’t.
http://www.necrophobic.net
[Laird Sheldahl]
NOCTURNAL FEAR
Metal of Honor
(Moribund Cult)
Rating - 9/10
Every now and then you simply want to get kicked in the
head. War/ thrash machine Nocturnal Fear, from the rotting industrial
wastelands of Michigan, return with their very best album, by far, in Metal
of Honor. Released on the steadily reliable Moribund Cult Records,
Metal of Honor has it all, bundled up in a fierce package of jingoistic
war metal that takes no prisoners and makes no apologies.
Taking the German triumvirate of Kreator/ Destruction/ Sodom as a base,
Nocturnal Fear add some modern production, beef up the speed and the guitar
tone a bit, and spice it all up with unbelievably catchy songs brimming full
with riff upon riff. The sheer, insane catchiness of the songs, brought out
wonderfully with a full, yet organic, production, truly allow the album to
shine as a prime example of slightly sloppy war thrash presented to near
perfection. Throw in some samples from Rambo movies and the monologue about
the enigma of steel from “Conan the Barbarian”, and Metal of Honor is a
near masterpiece of testosterone-fueled thrash with just the right amount of
added humor.
Probably the only criticism that I can level at an album such as this is that
there’s not much here in the way of ground breaking originality. But, then
again, who gives a fuck? That’s not the point as Nocturnal Fear are here to
just bash in your skull with a textbook example of violent thrash done right.
Buy or fucking die.
http://www.moribundcult.com/
http://www.myspace.com/nocturnalfear
[Dave Schalek]
PARADOX
Riot Squad
(AFM)
Rating - 6.5/10
The German thrash scene produced a slew of bands in the
late 80s, with Paradox releasing two solid albums on the Roadrunner label.
Unlike many of their contemporaries, Paradox took a page from the likes of
Metallica and Flotsam & Jetsam rather than fellow countrymen Kreator and
Destruction. Riot Squad is their third album since reforming in 1999
and does little to advance the genre or even the band’s catalog but is
reasonably decent effort.
The key to the Paradox sound is the quick, choppy thrash
riff, coupled with fairly complex arrangements and clean vocals. Opener
“Suburban Riot Squad” and “Rise in Rank” are good examples of the band
excelling, delivering some memorable vocal lines and plenty of energy.
“Psychofficial” ends the album at breakneck speed, though like much of the
last half, it lacks some of the more memorable qualities of the first half of
the record.
Aside from the general lack of real standout tracks, the
weakest link in the Paradox sound is vocalist Charly Steinhauer. Not that I
would seriously suggest the band replace such a signature part of their sound
at this point but it must be noted that the vocals don’t rate much beyond
‘serviceable.’ The one point in his favor though is a fairly original style.
For those looking for some melodic, well-structured and
at times downright speedy thrash metal, Riot Squad is a good bet.
Paradox manages to combine quality, modern production values with classic
songwriting to create a sound that is rather timeless in its own way.
http://www.paradox-bangers.de
[Daniel Hinds]
PTAHIL
Ortus
(Stronghold)
Rating - 7.5/10
Whatever happened to Typhus? For those not in the know,
Typhus, from Fort Wayne, Indiana of all places, released the absolutely
monstrous Profound Blasphemous Proclamation in 2005 and promptly
dropped out of sight (Encyclopaedia Metallum still lists Typhus as “Active”).
Flash forwards to 2010 and 2/3 of Typhus resurface as Ptahil, a trio playing
decidedly orthodox black metal on the new project’s debut EP, a two song
affair entitled Ortus.
Almost a full-length that clocks in around 30 minutes, Ortus, released
on Stronghold Records, presents two songs of a wholly different sound. The
opening track, “The Infinite TRUTH of the WORD of GOD is Translated by Corrupt
Fallen Man”, is a 10-minute descent into unsettling black metal straight out
of Black Funeral’s playbook with totally disconcerting vocal patterns and a
very high-pitched, tinny sounding guitar that initially grates upon the
listener. The song does soon devolve into a rather catchy affair with varying
speed, but will initially challenge the listener.
The EP’s second song, “Dies Irae! Dies Illa! Solvet Saecium In Favilla”, is
sung entirely in Latin (I think), and is a droning, heavy dirge with a very
catchy riff that serves as the song’s focus for most of the 20 minutes. The
riff slowly evolves, just enough, throughout the song, and never lets the
listener lapse into boredom. The production is also beefed up slightly,
without being too noticeably different from “The Infinite…”, and results in a
powerful song.
In short, I was quite impressed by Ptahil after an initial moment of
revulsion. The two disparate tracks present on the EP (streaming in their
entirety at the band’s MySpace), the obvious stab at black metal orthodoxy,
and the Typhus connection mark Ptahil as an interesting band to keep an eye on
in the USBM underground. Recommended.
http://www.myspace.com/ptahil
http://www.myspace.com/strongholdrecordsnet
[Dave Schalek]
SATAN’S HOST
Power~ Purity~ Perfection 999
(Moribund Cult)
Rating - 8/10
Although Satan’s Host, originally an offshoot of Jag
Panzer, have been around in one form or another, off and on, since 1977, I
must admit that the band has existed below my radar. My first exposure to the
band was a cursory listen to The Great American Scapegoat 666, Satan’s
Host’s previous full-length from 2008, and I wasn’t all that impressed. I
found the music and image of Satan’s Host to be a bit on the cheesy side;
however, in all honesty, I didn’t really give the album a fair shake, and it
quickly faded from my memory.
Fast forward to the end of 2009, and Satan’s Host appear
again with a new full-length, Power~ Purity~ Perfection 999, on
Moribund Cult. Immediately, Satan’s Host’s take on metal is a bit unique,
undoubtedly stemming from the band’s NWOBHM roots. Playing an unusual mixture
of blackened thrash and NWOBHM with just a hint of power metal, Satan’s Host
somewhat remind me of Mercyful Fate, if for nothing else than the unique
blending of styles that not many bands are willing to tackle. For example,
although featuring plenty of rasps and growls to go with aggressive, fast
blasts and thrash metal gallops, there are also plenty of moments of melody on
Power~ Purity~ Perfection 999 with solos and riffing seemingly lifted
out of NWOBHM and power metal offshoots, fluid bass lines, and lots of
acoustical guitar.
I suppose that the last time around with my cursory
glance at The Great American Scapegoat 666, I was turned off by the odd
mix of genres and found that the songwriting, for whatever reason, just didn’t
grab me. However, whatever problems I may have perceived with The Great
American Scapegoat 666 are absent from Power~ Purity~ Perfection 999
with a well-written album filled with engaging songs. Although notably unusual
as a departure from blackened aesthetics, the collision between NWOBHM and
blackened thrash largely works throughout the album. In addition, the
musicianship is quite good with a noticeably stellar bass.
About the only real complaint that I have with Power~
Purity~ Perfection 999 is that a few of the melodic moments have a
horrendously weak sound (the cheese factor). Case in point is the melodic
guitar intro to the very first track, which gave me a sense of foreboding
prior to hearing the remainder of the album. Luckily, however, these weak
moments are few, and Power~ Purity~ Perfection 999 ends up as a good
album.
If nothing else, Satan’s Host have found a unique niche
for themselves between genres. Combining this uniqueness with a solid album
gives you more than adequate reason to devote some time to Power~ Purity~
Perfection 999. Recommended.
http://www.moribundcult.com
http://www.myspace.com/satanshost
[Dave Schalek]
SEMEN DATURA
Einsamkeit
(ATMF)
Rating - 8/10
The oddly named Semen Datura are a German trio playing an
interesting mix of black metal styles on Einsamkeit, the band’s third
full-length and first for the ATMF label. Not being familiar with Semen Datura
prior to this release, I’m struck by a number of different aspects of the
band’s approach to black metal. The album artwork and layout provide black and
white scenes of forests, meadows, and coasts seemingly photographed in early
winter conditions. Juxtaposed against this desolate serenity is the simple
black and white, handwritten calligraphy, almost a scrawl from
guitarist/vocalist Auerswald, of lyrics and song titles (in German). The
contrast between beauty and the rather ugly calligraphy gives the listener a
sense of foreboding and unease as the album opens.
Semen Datura employ a powerful sound with Einsamkeit,
with production that has a certain raw edginess, yet still has a modern
clarity. The effect reminds me somewhat of orthodox bands such as Merrimack,
and, to some extent, Rebel Extravaganza-era Satyricon. Although the
production aesthetic approaches that of slimy, raw black metal, Semen Datura
do not allow themselves to be easily pigeonholed into one category. A number
of different, varied styles of black metal appear within the music. At times
the music is fairly progressive, with some flashy guitar riffing, acoustical
guitar, and a few simple keyboard melodies. The progressive strains of the
music vary from a quiet approach, almost like light jazz, to some speedier
moments with a much harder hitting, metallic sound. In these heavier moments,
Semen Datura also diverge considerably from black metal and begin to approach
an up tempo style that could easily be mistaken for technical death metal with
a melodic, progressive edge.
At other moments throughout Einsamkeit, the music
is fairly aggressive with a few all out blasts that drip with power and catchy
riffing. Certainly enough, Satyricon from the album indicated earlier comes to
mind, but there are also hints of straightforward death metal within Semen
Datura’s musical approach to these with some powerful riffing.
The different musical approaches present on Einsamkeit
would fall flat in lesser hands, but Semen Datura are obviously skilled
songwriters and musicians. The combination of disparate styles works, and
Einsamkeit ends up a varied, interesting listen. Recommended.
http://www.myspace.com/semendatura
http://www.atmf.net/
[Dave Schalek]
SEPSIS
…With No Mercy…
(Metal Age)
Rating - 7/10
Back in the early days of The Plague, it was no problem
to review any album, even if it was from a genre I didn’t like. I was more
than happy to give some shitty indie-punk band a one-sentence review that
dismissed them as total garbage. At some point, I felt it wasn’t serving any
purpose to review an album without giving at least some constructive
criticism, which is why I tend to pick and choose albums that I at least like
to some extent these days, even if it’s not my genre of choice.
Enter Sepsis. Sepsis is a death/grind band hailing from
the Czech Republic and …With No Mercy… is their first full-length
effort, after a series of demos and split LPs. Generally speaking, the music
is fast, brutal and fairly technical, while the vocals alternate between death
growls and gurgles that sound like the vocalist is having an endoscopy
performed with a microphone. The lyrics (incomprehensible but available at
the band’s site) deal with the requisite topics of blood, murder, revenge and
death. With song titles like “Collection of Body (P)arts” and “Time to Pull a
Gun,” you pretty much know what you’re getting.
Although there isn’t a lot to separate one song from the
next, the instrumental “Endless Suffering” which closes the album does indeed
stand out. Along with being a fairly slow and doomy track, it features a
pretty much non-stop solo throughout that is surprisingly melodic and
tasteful. This tune coupled with some of the more progressive tendencies
elsewhere help elevate Sepsis above the mundane.
This brand of relentless, subterranean death metal is one
of those genres that just never clicked with me so it is a bit difficult to
give it an accurate rating. On the one hand, the playing is reasonably tight
and the songs are complex enough to keep things fairly interesting, but the
vocals and a lot of the riffs have been heard a million times before. Still,
for a debut release, …With No Mercy… is pretty good, well produced and
shows promise for greater things to come.
http://www.sepsis.cz
[Daniel Hinds]
THE SKADEN
You’ll Hope I Had Died
(Blackmetal.com Records)
Rating - 6.5/10
The Skaden is the new project arisen from the remains of
France’s Eikenskaden, a project from former Mystic Forest mainman Stefan Kozak.
You’ll Hope I Had Died is the debut full-length from this new project,
and features Kozak performing all of the instruments and the main vocals. Also
noteworthy is the presence of Debbie Jaffe, owner/ web-mistress of
Blackmetal.com, and her contribution of lyrics and background, spoken word
vocals on one track. Other female vocalists make appearances, as well, on
You’ll Hope I Had Died.
I’m not familiar with Kozak’s prior projects, but The
Skaden are definitely a departure from the usual fare from Blackmetal.com.
Releases from Blackmetal.com usually do not deviate very much from the tried
and true formula of raw and/or fast black metal. That’s just fine, as the
albums from the label are usually quite good, but The Skaden can best be
categorized as post-black/shoegaze rock, with, quite frankly, not much of a
metallic edge. For the most part, You’ll Hope I Had Died consists of
slow, dreamy, guitar driven progressive rock music with varying amounts of
distortion, a slow to mid-paced approach, and atmospherics enhanced with
Kozak’s rough vocals usually in the far background. A few other moments of
atmosphere are added with the vocals from Jaffe and the other female
vocalists, as well as with a few wind/ forest effects. The overall effect is
one of melancholy and, for what the music is, the album is well done.
That said, however, You’ll Hope I Had Died really
only has a tenuous connection to black metal, and the usual customer base of
Blackmetal.com is probably going to be put off by this release, if not
outright shocked. Myself, I found the album to be rather pleasant background
music, but I don’t see myself coming back to The Skaden with any regularity.
http://www.blackmetal.com/
http://www.myspace.com/eikenskaden
[Dave Schalek]
TENEBRAE IN PERPETUUM
L’Eterno Maligno Silenzio
(Debemur Morti Productions)
Rating - 7/10
Tenebrae In Perpetuum are an Italian black metal trio
releasing L’Eterno Maligno Silenzio, their third full-length and second
issued on France’s Debemur Morti Productions. Simply put, L’Eterno Maligno
Silenzio is treading well worn ground; that is, typical rasps, a low-fi,
fuzzy production, and mild moments of clean vocals with a haunting tone are
the bread and butter of not just Tenebrae In Perpetuum, but a million other
bands, as well.
Although not terribly original, I found L’Eterno…
to be a pretty solid, raw black metal album with a no frills approach, decent
songwriting, and suitably haunting atmosphere greatly enhanced by the
intermittent appearance of the clean, almost soaring, vocals that are easily
the best feature of the album. Other than that, all of the typical, signature
elements of raw black metal are present on L’Eterno… such as variations
in tempo, a throaty rasp serving as the means of the primary means of vocal
delivery, buzzing guitars, etc. In addition, the overall tone and texture of
the album, along with the low-fi production, greatly reminded me of early
Emperor, circa In the Nightside Eclipse (minus the symphonic emphasis),
but that’s more or less a gut feeling on my part. That said, though more than
adequate, the songwriting on L’Eterno… is nowhere near the quality of
In the Nightside Eclipse.
Other than that, what else is there to say? If you enjoy
raw black metal that leans a bit towards early Emperor, as opposed to, say,
Darkthrone, you’ll find much to like on L’Eterno Maligno Silenzio by
Tenebrae In Perpetuum.
http://www.debemur-morti.com/
[Dave Schalek]
VALKYRJA
Contamination
(Metal Blade)
Rating - 7.5/10
Contamination is the second full-length from this
grim Swedish mob and an unhealthy dose of intense black metal it is, too. The
style is interesting, mixing elements of some of the doomier, underground acts
with the precision and quality production of the more established bands.
After a superfluous intro, the first proper track “Oceans
of Dust” kicks in with a vengeance. The drumming of J. Walgren in particular
stands out for its speed and inventive fills, while the rest of the band does
well to keep pace. Vocalist A.L. manages a raw approach that is properly
ferocious without being too overbearing, though a bit more variation wouldn’t
hurt. In the guitar department, there are actually some rather well put
together solos, most notably at the climax of “The Womb of Disease.” Perhaps
the most interesting song all around is “Catharsis (Contaminate the Earth),”
which effectively mixes the wintry Norwegian riffing of old with the more
brutal and fiery Swedish style in a fairly complex arrangement.
Valkyrja are one of those bands that is very good at what
they do and manage to create a sound that isn’t a total rip-off or rehash, yet
doesn’t quite have the memorable tunes to elevate them to the ‘must have’
level. Still, I was impressed, esp. for a second album, and it will be
interesting to see where they develop from here.
http://www.myspace.com/valkyrjaswe
[Daniel Hinds]
VETUS OBSCURUM
Blood Revelations
(Debemur Morti Productions)
Rating - 7.5/10
Vetus Obscurum are a trio from Seattle made up of members
of numerous other acts from the area, most notably Krohm and Drawn And
Quartered. Apparently, Vetus Obscurum pre-dates Numinas’ work in Krohm, going
back to the early to mid 90s, and have recently reformed. No releases, as far
as I can tell, were made before this recent reformation and Debemur Morti
Productions is in charge of releasing the trio’s first official output, a
four-song EP, ostensibly a demo, entitled Blood Revelations.
Clocking in at about 23 minutes in length, Blood
Revelations is a solid work of raw black metal with a decided USBM
emphasis. Droning riffs somewhat reminiscent of the suicidal work of early
Leviathan, Xasthur (Vetus Obscurum is a different animal from Numinas’ work in
Krohm), and so on are combined with a nice, fluid, audible bass, a suitably
raw, yet clear production, and good songwriting over the four tracks
presented on Blood Revelations. It is unclear, though, as to whether
any of the four songs come from the first incarnation of Vetus Obscurum, or
are recent efforts (a couple of other tracks, besides those included on
Blood Revelations, are posted at the band’s MySpace page).
At any rate, although somewhat typical, Vetus Obscurum is
solid thus far and I look forward to a proper full-length (as well as new
material from Krohm, for that matter). Recommended.
http://www.myspace.com/vetusobscurum
http://www.debemur-morti.com/
[Dave Schalek]
VIOLATED
Only Death Awaits
(Duplicate)
Rating - 7.5/10
Old-school thrash metal from… Norway? Yes, indeed, and a
pretty tasty slab of thrash it is, too. Although this is the band’s debut
album, they do have a split LP and a couple of demos under their collective
belts and the experience shows.
Violated have fused the raw and more sophisticated sides
of thrash nicely here, with guitars that really bite and riffs that flex and
shift gears throughout each song. Vocalist Hans Wik delivers a very unmelodic
style, akin to bands like Sacred Reich and even newer Entombed. The results
are probably my least favorite element of the band’s sound but it works
reasonably well nonetheless.
The songs tend to mix various classic thrash styles to
good effect, throwing some choppy Bay Area riffs in right alongside some
Slayer menace (see “What You Give is What You Get”). Speed is certainly an
element utilized (“Out of Focus” is pretty damn manic), but Violated don’t
overdo it, using tempo changes effectively. In true classic thrash style,
there is even a short acoustic instrumental near the end of the album (“Apokalupsis
Eschaton”) which leads straight into the title track, a classic Exodus-styled
rocker that closes the album out nicely.
Only Death Awaits isn’t perfect and there are a
few rather forgettable songs, but by and large it’s a solid statement of
thrashing intent and an impressive debut for sure.
http://www.myspace.com/theviolated
[Daniel Hinds]
WAY TO END
Desecrated Internal Journey
(Debemur Morti Productions)
Rating - 7/10
Debemur Morti Productions screams quality black metal
with virtually every release. Couple the French label with another new French
black metal band (France probably still has one of the more dynamic black
metal scenes), and people are going to start to get excited, myself included.
Way To End are a new quartet from France, and have just released their debut
full-length, entitled Desecrated Internal Journey.
Immediately, Way To End continue the tradition of
variation that is alive and well in French black metal with a bizarre, quirky
release. A generally slow to mid-paced tempo (a few blasts are present, as
well, but are not the focal point) with low-fi production and greasy rasps are
nothing new, but the startling guitar patterns, dreamy moments of melody, and
a free form jazz-driven, fluid bass provide a weird diversity to Desecrated
Internal Journey. The guitars seem to weave all over the place, with
moments of fairly traditional riffing spliced with strumming and slides along
the strings to high-pitched notes. The result is a bizarre dissonant sound
that alternates between a certain beauty and a general feeling of forbidding
unease. A few acoustical pieces of Spanish guitar, particularly late in the
album, add a certain dimension of melancholy doom to the black metal base of
Desecrated Internal Journey, contributing further to the album’s
atmosphere. Although Desecrated Internal Journey comes off as seemingly
sloppy at times, the masterful acoustical guitar work indicates that
guitarists Rust and Hazard are well practiced, indeed.
Desecrated Internal Journey, for all of its
quirkiness, is a challenging listen, and probably will not appeal to those of
you that prefer that black metal remain within traditional boundaries.
However, if you’re looking for something a bit different, yet still raw,
Desecrated Internal Journey from Way To End is more than worth a look.
Recommended.
http://www.myspace.com/waytoendmetal
http://www.debemur-morti.com/
[Dave Schalek]
WODENSTHRONE
Loss
(Bindrune)
Pagan/Folk Black Metal from England doesn’t tread too
much new ground, but this is hardly a genre that’s been overdone, and
Wodensthrone do it with skill. Folky intros give way to vast tremolo guitars,
double bass drum streams, overlays of symphonic synthesizer/string elements
and black metal vocals. Somewhere along the way, the more atmospheric pagan
focus gives way to some absolutely excellent, riff heavy black metal. The
pagan elements are still there, but they are more of a flavor enhancer than
the main course, and I must say I really like it. Tracks like “Black Moss”
and “Upon These Stones” drive hard and fast and are the best tracks I’ve heard
out of this stack of reviews I’m doing. Absolutely worth checking out.
http://www.myspace.com/wodensthrone
[Laird Sheldahl] |
