Fun, unhinged and very, very satanic death metal. I like it, and it's clearly ahead of it's time, as this a very early example of the kind of fast-as-hell tremolo based death metal that would be done ad nauseum in the next years. Lyrics wise it is surprisingly creative for a record that is basically about the same thing all the time (it's all Satan! and I'm not complaining!) and the delivery is awesome, both in terms of rhythm and timbre. Drumming is also great, and the drum mix is fine. Talking about the mix, this is what kind of ruins it for me, the production here is pretty ass, specially the strings. Essentially no bass and the guitars are very thin and small for the level of brutality they were going for. Had this a production like Death's Leprosy or even Morbid Angel's Altars (which is not a favorite production wise), this would be pretty much perfect.

Listening through Death's discography, I finally come to an album that is very much regarded as one of the band's best but that I never gave too much attention. After many, many spins this has come to be my favorite Death album. The perfect point in the progression of their sound, the very transition between the brutality of Leprosy and the progressiveness of Sound, here everything is in perfect balance. Coupled with stunning musicianship, amazing compositions and a very solid production, Human takes Death far ahead of the competition with a record that shows how much art can really be in death metal. I feel like this is a specially somber album in the band's discography, with some of their most aggressive (Suicide Machine comes to mind) and sinister (Lack of Comprehension) songs, and also the first to go deep into philosophical and existential lyrical topics, something that would become a staple in Chuck's later work. Honestly, there is an argument to be made for every song here as a standout, because every single track has something interesting and new to offer. Every instrument is also played flawlessly. Here the band starts to use very creative and distinct drumming, with quick metallic cymbal grooves that would also become a trademark of the later Death sound, and also veers toward a more technical and out there string instrumentation, specially in bass fills and dare I say "jazzy" solos (like the second one on Flattening of Emotions).

Well, to summarize, this pretty much scores perfectly in every way and the only reason I don't give it all stars is that I reserve this rating for albums that really touch me in a different way. It can't get much better than Human.

Disarmonia Mundi are members of the quarter-century-club and at this point, it's safe to say that they will never learn how to produce an album properly. 

This was a struggle to listen to. Not because The Dormant Stranger is a poorly written album, but because the production is complete ass. The loudness war has taken full effect here and has been a staple of Disarmonia Mundi's music for a while now. So tracks that may have had potential like "Outcast" and "8th Circle" lose all of their grandeur by having brick wall soundscape. Nothing is allowed to breathe as the guitars just power away the entire time. The vocals are compressed to hell and only really ascend above the instrumental when the harmonies and vocal layering takes over. This would all be an issue on any record released in 2025, but could be forgiven if the mood was right, say for example this was a hardcore punk or metalcore record. The Dormant Stranger is not only neither of those things, but this record goes on for almost an hour! By the time I hit "8th Circle" at nearly seven minutes long, I was nearing the end of my rope. This band needs to streamline their albums OR write shorter songs more consistently. As it stands, it's an album that starts off underwhelming only becomes progressively worse the longer it goes on.

Best Songs: Illusion of Control, Crossroads to Eternity, The Dormant Stranger

Invictus are a death metal three-piece who formed in 2015 in Nagano in Japan. They play in an old-school style that plays very much to my death metal preferences, so it is unfortunate that I haven't come across these guys until now. They don't appear to rush their releases, with this being only their second full-length, following 2020's debut, "The Catacombs of Fear", and it shows because this sounds like well-written and well-rehearsed material that the individual musicians are apparently exceedingly comfortable with.

Musically there is a reach back through time to the late Eighties and early Nineties scene with influences from the likes of Bolt Thrower, Asphyx, Autopsy and early Death all shining through. The riffing is fluent and hard-hitting with some vestigial thrash metal elements underpinning the album's potency and inexorably driving the tracks forward. Like all the best old-school protagonists Invictus are also unafraid to drop the tempo into a doomier territory from time to time. The production is very dense, feeling like it is smothering and squeezing the listener and which possibly helps to make the album sound even more brutal than it really is. I say this because although it does sound damn brutal, it is actually also quite melodic (for want of a better word) and has some killer hooks in its riffs. However the foetid production always seems to subvert those hooks and presents such an atmosphere of filth and violence that this melodicism goes to work on a much more subliminal level, so you suddenly find yourself tapping your toes and nodding your head almost unwittingly.

This is quite a short album, by modern standards, with eight tracks and a brief intro clocking in at a touch over 35 minutes. With the final track taking up 8 of those minutes, the others are mainly in the sub-4 minute region, yet seem to have far more going on in them than such brief run times would suggest, a testament to the three guys songwriting prowess. The riffs are obviously the big draw here and there aren't many guitar solos but when there are they are pretty manic - check out guitarist and vocalist Takehitopsy Seki's frenzied shredding towards the end of "Altar of Devoted Slaughter" for proof. The rhythm section of bassist Toshihiro Seki and drummer Haruki Tokutake are both impressive here and their work is the foundation of all the brutality and filthiness that bursts out of the speakers and these two guys are definitely more than just supporting players to Takehitopsy's six-string antics.

I enjoyed this one immensely as it plays to all that I have grown to love about old-school death metal, the stampeding riffs, the foetid atmospherics, the chunky bottom end dynamics and the grizzled growls of subterranean demon vocals. One of my favourite OSDM albums of recent times that I will definitely return to time and again.

My initial thoughts after hearing Zerfall was how much more progressive this sounds than the previous record. This kind of had that transition from pure atmospheric black metal to progressive that a band like Fen had from Winter to The Dead Light. Ellende unfortunately do not have the same highs as Fen does and this record, while still okay, is far from excellent. With this bands roots in DSBM, the first track, "Wahrheit" is very fast and groovy and the technicality in the percussion takes away a bit from that feeling of isolation. The record does get progressively more slow as it moves on, which is a similar trait that Todbringerin shared and later moments like "Zeitenwende" and "Reise" excel. But the major key of "Ode ans Licht" set a very unusual expectation for not just the track itself, but what followed later on in the album. 

As a whole however, I think that Zerfall is a record that has some experience and has learnt from Todbringerin's mistakes. The changes in tempos and paces make Zerfall feel like a much more complete project instead of a monotonous drone the whole way through. Some progressive elements and a knack for dark storytelling help this record stand on its own. It's about the same length as Todbringerin and yet it feels much more concise. That being said, I do hope that Ellende plan on doing something else with this sound in the future. As it stands, while Zerfall is just a simpler version of Fen's The Dead Light, I would find it difficult to appreciate this sound if it didn't try to distance itself more from that influence. 

Best Songs: Wahrheir Teil I, Übertritt, Zeitenwende Teil I, Zeitenwende Teil II