The Death Metal Thread

Hypocrisy - "Osculum Obscenum" (1993)

I first became exposed to Swedish death metallers Hypocrisy through their 1992 debut album "Penetralia" after noticing a cassette copy floating around Neuropath front man Mark Wangmann's house in early 1993 & I have to admit that I quite enjoyed it too although I wouldn't suggest that it's essential listening by any means. My recent revisit to that particular record has proven that I probably gave it a little more attention than it deserved at the time though because I seemed to recall most of the song-writing pretty vividly. I'd subsequently pick up a dubbed copy of Hypocrisy's sophomore album "Osculum Obscenum" through one of my metal connections shortly afterwards & found it to offer a very similar level of reward although I can't say that I can recall this material anywhere near as much as "Penetralia" which is an indicator that I moved on from it fairly quickly. This is perhaps not all that surprising when you consider that "Osculum Obscenum" is basically more of the same brand of meat-&-potatoes death metal that Hypocrisy had dished up on their earlier effort with the limited technical skills that tainted my view of "Penetralia" still being on full display here. The riff construction is pretty standard for a third tier death metal player while the drumming & lead guitar work showcase a level of naivety that the band was still yet to overcome. I find the poorly executed blast beats to be a bit of a distraction as poor old Lars Szöke simply can't keep them in time for more than a couple of bars so they end up resembling a train crash by the end of those sections due to his lack of endurance. There's no doubt that Hypocrisy knew a good hook when they heard one though so there's still plenty to enjoy here.

Although "Osculum Obscenum" is of a pretty similar standard to "Penetralia", I do tend to favour the debut just slightly over it. "Penetralia" definitely contained a couple more highlight tracks than "Osculum Obscenum" but it also fell flat a little more regularly so there's a bit of give & take there. At the end of the day though, the fact that I can recall the songs from "Penetralia" more vividly than those from their follow-up is the telling factor in me placing "Osculum Obscenum" slightly behind "Penetralia" in respect to the overall Hypocrisy back catalogue. The band would go on to produce better records than both of these crude early works but I'd suggest that both are still worth a few spins for the any self-respecting Swedish death metal devotee.

For fans of Bloodbath, Dismember & early Edge of Sanity.

3.5/5

Edge of Sanity - "Nothing But Death Remains" (1991)

Swedish melodic death metal establishment Edge of Sanity first came to my attention through metal radio programming back in the very early 1990's off the back of their 1991 debut album "Nothing But Death Remains" which is a very different prospect to the one that saw them completely blowing up off the back of their 1996 fifth album "Crimson". You see, Edge of Sanity began life in much the same way as many of their Swedish peers i.e. as a far more conventional death metal band that took its earliest steps over ground that was already well trodden. Not being much of melodeath fan myself, I have to admit that this idea holds a stronger appeal for me than it may to many others so this week's revisit of "Nothing But Death Remains" has only proven something that I already strongly suspected. Yep, I actually prefer Edge of Sanity's rawer early works over their widely celebrated mid-1990's material.

While "Nothing But Death Remains" may have a fairly tinny production job by today's standards, it wasn't anything out of the ordinary for a young band at the time & there was already a class to Edge of Sanity's compositions that defied this record's status as an early 90's debut. The boys hadn't adopted the signature BOSS HM-2 pedal driven Entombed/Dismember wall of sound as yet but they certainly sounded like they had already spent a bit of time paying their dues as the musicianship is all solid & the song-writing offers enough variation to keep me interested. The tracklisting is quite consistent with only the disappointing second track "Human Aberration" failing to meet an acceptable standard. I really enjoy the use of guitar harmonies but the Dave Vincent-ish vocals of band leader Dan Swanö are probably the highlight of the record for me personally. There's a graveyard atmosphere that Edge of Sanity rarely achieved again here &, despite the fact that "Nothing But Death Remains" is hardly essential listening for the average death metal listener, it's far from the misfire that many fans of the Swede's later material would have you believe it is.

For fans of Bloodbath, Uncanny & early Hypocrisy.

3.5/5

Edge of Sanity - "Unorthodox" (1992)

I found myself in an interesting position after revisiting the 1991 "Nothing But Death Remains" debut album from Swedish death metallers Edge of Sanity last week. It probably shouldn't have been all that much of a surprise given my well-documented struggles with the more melodic end of the extreme metal spectrum but I discovered that I slightly preferred Edge of Sanity's rawer & more traditional first-up death metal effort over their more highly celebrated classics like 1994's "Purgatory Afterglow" & 1996's "Crimson", a position that puts me largely out on my own from what I've seen over the years. This left me wondering whether perhaps some of the albums in between might challenge for top honours though as I'd certainly been across all of the Edge of Sanity back catalogue during my tape trading days & remember those releases quite fondly too. One of my old tape traders (who also happened to be the bassist in Aussie doom/death band Elysium who I spent some time with) held the Swedes up as his very favourite band so I was always kept abreast of where Edge of Sanity were at, sometimes to the extent of force-feeding me if I'm being honest. Perhaps this has something to do with me not having returned to 1992's generally well received "Unorthodox" sophomore album since the late 1990's but it's time to fill the glaring gap in my ratings for what has gone on to become one of the more important bands in the whole Swedish death metal phenomenon.

Rightly or wrongly, "Nothing But Death Remains" hadn't exactly set the world on fire from a critical or commercial point of view but Edge of Sanity didn't lose hope, returning to the same studio they'd become comfortable with during the recording of their debut full-length (i.e. Montezuma Recordings in Stockholm) to knock out their second full-length effort. This time though, it seems that the band &/or executive producer Börje Forsberg (the father of black metal legend Quorthon) decided that Edge of Sanity would be best served by giving in to the lure of the popular BOSS HM-2 Heavy Metal pedal worshipping sound that bands like Entombed & Dismember had made Sweden's calling card over the previous couple of years. Personally, I can't say that I've ever favoured that sound over the one popularized by the Americans but I can't deny that it works for Edge of Sanity here, giving them a brighter & more vibrant sound that better highlights the slightly more melodic & expansive arrangements we find on "Unorthodox".

Once again, I feel that Dan Swanö's powerful death growls are probably the best thing about this record as he regularly reminds me of Morbid Angel's Dave Vincent with his tone losing none of its menace despite maintaining clear intelligibility. Where "Nothing But Death Remains" generally traversed some fairly commonly taken creative routes though, "Unorthodox" sees Edge of Sanity starting to take a few risks by expanding their repertoire & even hinting at the progressive edge of the two "Crimson" releases. Does it all work? Well, yeah it does but, by the same account, it rarely finds me reaching for superlatives. There's no doubt that "Unorthodox" is a slightly more consistent record than the debut was with none of the ambitious fourteen tracks failing to offer some level of appeal but I can't say that too many of them really get my blood pumping either. It's only really the one-off attempt at doom/death in excellent closer "When All Is Said" that sees me placing Edge of Sanity into that second tier space with the rest of the album simply coming across as a decent example of the signature Swedish death metal sound more than anything else. The generous 57-minute run time was perhaps a little ambitious for a conventional death metal release too & I think Edge of Sanity might have needed to have taken the progressive component further still if they were to maintain my full attention for that sort of period.

Despite its musical direction moving a little further away from my wheelhouse than that of "Nothing But Death Remains", I'd still suggest that "Unorthodox" has a slight advantage over its elder sibling as its class & consistency see me placing just above the debut in the band's overall pecking order. As scandalous as this might sound, this also sees it sitting above Edge of Sanity's more highly regarded mid-90's albums too which likely has more to do with my struggles with the melodic death metal subgenre than it is anything to do with the quality contained on each release. This does beg the question as to where the Swede's 1993 third album "The Spectral Sorrows" sits in the grand scheme of things & I intend to answer that question in the coming weeks. Until then though, I can't see "Unorthodox" disappointing too many fans of the classic Swedish death metal sound but I'd be surprised to see it topping too many charts all the same.

For fans of Dismember, Entombed & Bloodbath.

3.5/5

Resurrection - "Embalmed Existence" (1993)

I picked up the 1993 debut album from Florida death metallers Resurrection very early in my tape trading days & it made a pretty big impact on me too, triggering many return visits over the years & a general fondness that's seen me often wondering why these guys didn't amount to more than they did. "Embalmed Existence" is a rip-roaring extreme metal record of high-quality with Resurrection presenting a very professional & appealing sound that's benefitted from a trademark Scott Burns production job at the legendary Morrisound Studios as well as a typically dark & eerie Dan Seagrave album cover. So, why didn't it manage to achieve a stronger level of notoriety than it did? Well, I think some of that comes down to the inclusion of many spoken-word interludes that I personally find to add something to the album but many people simply find to be annoying. I can't understand it to be honest. I think they give "Embalmed Existence" its own unique character.

While Resurrection may not be the most brutal of US death metal bands, there's a cohesion to their attack that easily makes up for the lack of blast-beats. I particularly enjoy the contribution of drummer Alex Marquez (Solstice/Cephalic Carnage/Demolition Hammer/Malevolent Creation) who ties the instrumentation together with great precision, giving some of the simpler sections a little more meat than they might otherwise have had. Resurrection's weakness is definitely in the vocal department though with front man Paul Degoyler's whispery death growls lacking a bit of depth. While revisiting the album this week I got the distinct feeling that Degoyler was one of the guitarists because it seemed like all of his vocal parts were strategically positioned over some pretty simple riff structures, giving me the impression that he wasn't the most skilled of multi-taskers. I was surprised to discover later on that Paul is a dedicated grunter as it seemed so obvious to me but I guess I shouldn't make assumptions.

"Embalmed Existence" kicks off in stellar fashion with opener "Disembodied" being a classic example of the Florida death metal sound. My personal favourite "Pure Be Damned" comes a lot later in the piece & sees Resurrection playing in spaces that only the very top tier of the genre have any right to be. The remainder of the tracklisting is generally very solid with only the seriously misguided cover version of KISS' "War Machine" that ends the record being a throwaway. Resurrection tend to take two very clearly defined directions here. On the one hand you have the more brutal influence of Malevolent Creation which is probably where I see most of the stronger moments residing & on the other you have the more crushing & slower tempo power chords riffs of Obituary. Perhaps those influences are a little too blatant at times but I'm a big fan of both bands & there are enough unique elements to Resurrection's sound to give them their own identity regardless, particularly those interesting interludes which never overstay their welcome.

This revisit has once again proven to me that Resurrection were very unlucky not to receive a lot more attention than they did. Perhaps the slightly weaker vocal contribution is the main reason for that? it's hard to say but they were a more than capable band with a classy sound that fits right inside my wheelhouse & was probably a bit of an influence of the early Neuropath material too given how much time I spent with "Embalmed Existence". I think most of our The Horde members should find a fair bit to like here.

For fans of Malevolent Creation, Obituary & Morta Skuld.

4/5

Misery - "A Necessary Evil" (1993)

In the early days of my death metal band Neuropath, the five of us thought we were kinda out on our own a lot of the time because the Australian extreme metal scene didn't really have anything like us at the time. Although there were other death metal bands scattered around the country, there didn't seem to be any that were dedicated to focusing on the more pure & overtly brutal end of the death metal spectrum in quite the same way that we were. My discovery of Brisbane five-piece Misery definitely threw a cat amongst the pigeons though as it showed us that it was possible for a local act to produce a full-length album that could compete with the Americans in terms of quality. They may not have fallen into that "brutal death metal" camp that we seemed to be so eagerly embraced by but their sound certainly sat right in the middle of the death metal pool in an unapologetic fashion that I found enormous appeal in. I hadn't heard of Misery prior to picking up their 1993 debut album "A Necessary Evil" on CD from my local record store shortly after release but they very quickly became a regular contributor to Neuropath gatherings. I can still vividly recall my first time seeing Misery play live at a tiny inner city venue actually, the five of us all stumbling out of the back of a bong smoke-filled van with Deicide music blaring. Misery were bloody good that night too & that experience would only work to drive our hunger to create a similar storyline with our own recording career. Since that time, I've always held "A Necessary Evil" in very high regard & have followed Misery across the course of their career, having headed back to their early 90's demo days & explored all of their subsequent albums & singles. I also think it would be fair to say that I experienced a sensation not unlike fanboyism when I discovered that Neuropath would be sharing the pages of the latest edition of "Devoured Death" 'zine with the band too & the pleasure I drew from that unexpected experience has led me to pull out Misery's debut for a long-overdue revisit.

The first thing worth mentioning in any discussion around "A Necessary Evil" is the excellent cover art which was likely the reason I first picked up the CD in the first place. The image & logo are extremely death metal & give the listener a pretty reasonable idea of what they can expect to hear inside. The ten tracks included were a collection of material that had been pulled together over the two-year period since the band's inception in 1991, six of which had appeared on Misery's early demo tapes "Sorting of the Insects" & "Astern Diabolus". In fact, the versions of "Septic Octopus" & "I Endure" (my personal favourite) that appear here were taken directly from the "Astern Diabolis" demo. The production job is thick & chunky & played a major role in highlighting all of the things that were great about Misery at the time. It also allowed them to be compared with the thriving international market because, unlike many Australian releases of the time, "A Necessary Evil" didn't sound inferior or demo-quality in any way. Front man Darren Goulding's vocal delivery was truly monstrous but didn't really sound like anyone else in particular either so, when combined with the weight of Misery's swampy down-tuned death metal riffage & eerie lead guitar melodics, Misery presented the listener sound that already owned its own unique identity.

One of the other strengths of "A Necessary Evil" was its consistency. There's not a dud to be found in this lot with the vast majority of the record sitting very much in the realm of the healthy second tier US death metal pool so it's a little disappointing that Misery never managed to break out of their home country a little more than they did. "Body Farm" (which was a re-recording of an early song from the "Sorting of the Insects" demo) sees things descending just a touch from the rest of the material but it's still an enjoyable inclusion nonetheless. The lack of any genuine death metal classics is probably the biggest reason that I never considered one of my more elite scores for "A Necessary Evil", despite the impact it may have had on me personally. Perhaps a touch more brutality might have seen that turning around as Misery generally steered clear of blast beats, focusing more on creating a graveyard atmosphere at mid-tempo which was a feat that they were no doubt very accomplished at.

I've really enjoyed my step back in time with this album this week. It's brought back some wonderful memories of an incredible time in my life which was full of musical discovery. Is "A Necessary Evil" worthy of its glorified position as an Aussie metal classic? Well, yeah... I think it is. I don't think it ever really reaches similar creative peaks to the Death's or Morbid Angel's of the world but the kudos it's earnt for opening up the local scene to the idea that an Aussie act can compete on an international level can't be denied. This record comes highly recommended from this ol' death metal tragic.

For fans of Innsmouth, Abramelin & Psychrist.

4/5

Disincarnate - "Dreams of the Carrion Kind" (1993)

To this budding young shredder & death metal-obsessed teenager, hired gun guitar virtuoso James Murphy was very much an idol during the early 1990's. I first became aware of him through his stunning contribution to Death's 1990 "Spiritual Healing" album before being thoroughly blown away by his work on Obituary's "Cause of Death" & Cancer's "Death Shall Rise". So, when I got wind of Murphy's commitment to release a death metal project of his own called Disincarnate I was obviously very excited. This led me to pick the "Dreams of the Carrion Kind" album up on CD upon release & it certainly didn't leave me feeling disappointed. I've always held it in very high regard & return to it regularly. Somehow though, I've never gotten around to reviewing it & think it's about time I did given just how few of our regulars seem to be across it.

"Dreams of the Carrion Kind" is a pure death metal record for death metal enthusiasts only. There's no attempt to reinvent the wheel made here but the overall product is so well put together that this means very little in the grand scheme of things. Interestingly, it wasn't recorded in the United States, despite falling very comfortably into line with the US sound. It was actually recorded in Wales with well-known metal producer Colin Richardson doing a great job at harnessing both the brutality & the melodic sensibilities of Disincarnate's classy brand of extreme music. Murphy had put together a highly capable trio of support musicians for the project including vocalist Bryan Cegon, rhythm guitarist Jason Carman & future Acid Bath & Shrüm drummer Tomas Viator & I'm very pleased to say that the three combine well with Murphy to form a tight-knit band rather than being merely a support network for Murphy's undeniable chops. In fact, you'd never pick Disincarnate as being a solo act because it simply isn't one.

The strength in Disincarnate's music is their ability to balance out a savage attack with a clear sense of melody & a strong understanding of compositional techniques. Not all of the riffage is of an elite level but the song-writing all flows effortlessly which gives Murphy & co. an extra layer of professionalism that sees them standing out amongst the death metal crowd. Cegon's vocals stick largely in cookie monster territory but he always maintains a clear intelligibility which sees "Dreams of the Carrion Kind" sounding a touch more accessible than some of their peers. The rhythm guitar work is super-tight & exceptionally sophisticated as you would expect from a Murphy-fronted project with the use of guitar harmonies being a real highlight of the album, so much so that I can easily pickup the influence of this record in my own band Neuropath's 1996 demo tape "Desert of Excruciation" which has often been described by critics as "Suffocation meets Disincarnate". Given that these harmonies give Disincarnate their point of differentiation, I think drummer Viator does a great job at giving them the room they need to deliver their maximum appeal as never overdoes the blast-beats, instead keeping them up his sleeve for key moments which accentuates their impact.

The tracklisting is extremely consistent as there's nothing even remotely close to filler included here. The record kicks off in brilliant fashion with two of Disincarnate's finest songs appearing in quick succession. "Stench of Paradise Burning" is quite simply one of my all-time favourite death metal songs &, listening back now, I can easily see why I tried so hard to get my Neuropath band mates to cover it during the mid-1990's. "Beyond the Flesh" is almost is potent too so it's easy to understand why I might have been led into such enthusiasm during the early stages of my first listen as a snot-nosed, teenage death metal frother. The album settles in for a solid mid-section after that before exploding again during the back end of the tracklisting with a trio of classics in "Deadspawn", "Sea of Tears" & the stunningly atmospheric doom/death outro piece "Immemorial Dream" which comes the closest to challenging the brutal opener for top position. Murphy's guitar solos are a constant source of amazement as he seemed to know just how to layer his instantly recognizable technique over the riffs in a way that never highjacks proceedings, instead working to add additional colour & excitement to some beautifully executed transitions. I absolutely adore some of the tremolo-picked riffs that sit underneath his lead work actually. It reminds me of Gorguts' 1991 debut album "Considered Dead" as well as his former band Death at their very best which is in no small part to do with the super-tight & suitably restrained performance of Viator.

If it isn't already obvious, "Dreams of the Carrion Kind" is a special record for me, so much so that it's always surprised me that it's not talked about more often. Perhaps it helps that I was playing in a death metal band as a lead guitarist at the time which no doubt gives me a unique perspective on the way Disincarnate have created & structured their music but I still think this is a seriously underrated record. The way that Disincarnate effortlessly incorporate a wide array of tempos (including some of the most masterful harmonized doom metal material you'll find) is quite remarkable & there are very few who have pulled it off with such an air of professionalism. Despite Murphy's looming presence at the helm, one would have to imagine that all four band members must have possessed a very strong pedigree in the history of death metal, otherwise I can't see how they would have been able to pull off a record like this one which should be essential listening for all US death metal nuts.

For fans of Brutality, Demented Ted & Monstrosity.

4.5/5

Cannibal Corpse - "Hammer Smashed Face" E.P. (1993)

By the time 1993's "Hammer Smashed Face" E.P. was released in March 1993, Buffalo death metal phenomenon Cannibal Corpse had become nothing short of a staple in my life. These five notorious gore-merchants had first grabbed my attention with their 1990 debut album "Eaten Back to Life" before pulling the trigger on a couple of the more significant & influential releases in my childhood in 1991's "Butchered at Birth" & 1992's "Tomb of the Mutilated", both of which would play a major role in the musical direction of my own death metal band Neuropath. I even quite enjoyed Cannibal Corpse's 1989 demo tape so I think it's fair to say that I would have lapped up anything the band presented to me at the time & that's probably why I went about seeking out "Hammer Smashed Face" as soon as it hit the shelves, despite it only containing a couple of songs that I didn't already own. There's no doubt at all that it served as an excellent entry point to the band though given that it contained the best tracks from Cannibal Corpse's previous two records as well as one of the highlights from the debut.

The E.P. kicks off with the legendary title track, a death metal anthem that's held up as a signature for the entire death metal movement at times. Neuropath covered it in a live environment a couple of times, mainly out of necessity as our fan base used to request it quite often given how closely aligned the two band's sounds were. It still sounds fantastic today too & there's no doubt that it played a massive part in my life throughout the middle of that decade & for many years to come. But it was the opening track from "Butchered at Birth" that was the one that first saw me being genuinely convinced that Cannibal Corpse were the real deal & "Meathook Sodomy" is still arguably my favourite track from the band to this day. "Shredded Humans" has always been one of my picks from the debut too so these three songs were ideally suited to drawing in a market that was more open to being shocked than at any other time in history. The two cover versions are both worth hearing too though, particularly the excellent reenactment of Possessed's early death metal classic "The Exorcist" but also the groovier version of Black Sabbath's "Zero the Hero" with both managing to do justice to the originals. While Chris Barnes' ultra-gutteral vocal delivery may not be for everyone, I absolutely lapped up that shit & still seem to today to be honest. There's just something about him that sounds so bad ass & it's one of the great shames in extreme metal that he's descended so far in the decades since. At a guess, I'm wondering whether Cannibal Corpse's rendition of "Zero the Hero" might have been the catalyst actually as it certainly has a similar feel to some of the Six Feet Under material.

Look, many people will argue that the "Hammer Smashed Face" E.P. is an inessential release given that it doesn't contain much new material but, if I'm being honest, I actually listen to it more than any of Cannibal Corpse's earlier material these days & I think that tells us something i.e. when you forget where the individual tracks came from & simply focus on the quality of the material there's a case to say that this was Cannibal Corpse's stronger release to the time. That may not make it an essential purchase but it certainly makes it worthy of a strong rating & a healthy following within death metal circles.

For fans of Deicide, Cannabis Corpse & Monstrosity.

4/5

Benediction - "Transcend the Rubicon" (1993)

I spent a fair bit time with English death metallers Benediction’s 1991 sophomore album “The grand Leveller” after purchasing it on cassette shortly after release. In fact, I’d suggest that I probably spent a little more time than was warranted if I’m being honest, perhaps due to the fact that I’d parted ways with my hard-earned cash for it. I did quite like it though & felt that it was an improvement on their 1990 debut album “Subconscious Terror” which I also have some time for. In saying that though, I did still think of Benediction as a third tier death metal band & I’d suggest that this is the reason that I didn’t run out & buy their 1993 third album “Transcend the Rubicon” upon release, instead opting to seek it out through the tape trading scene as I had with their 1992 “Dark is the Season” EP. I remember “Transcend the Rubicon” quite fondly but I don’t think it changed my preconceived position on Benediction as an artist. I have seen a few people saying that it’s their best full-length recently though so I thought I’d give it another shot.

Benediction are the very definition of the meat-&-potatoes death metal band in my opinion. Their music is very simple yet goes to great lengths to maintain the genre’s trademark graveyard atmosphere. I’ve always thought that Benediction lacked the class & sophistication of the big names though & “Transcend the Rubicon” won’t change any of those impressions. What we receive here is pretty much “The Grand Leveller Part II” with few attempts being made at altering the band’s pre-existing formula. There are perhaps a few more thrashy parts included if you look closely, particularly on the unapologetic death/thrash number “Wrong Side of the Grave”, but the bulk of this material could just as easily have been found on Benediction’s previous album. I don’t think “Transcend the Rubicon” can boast as deathly an atmosphere as its predecessor though although I’d probably need to play the two records back-to-back to confirm that.

The only lineup change on “Transcend the Rubicon” is the addition of former Cerebral Fix/Sacrilege & future Memoriam bassist Frank Healy who comes in to replace another former Cerebral Fix member in Paul Adams who had departed after “The Grand Leveller”. This doesn’t make all that big an impact on the Benediction sound though & if you can imagine the simple song-writing & riff construction of Cancer performed with the heavy, uncluttered sound of Bolt Thrower & topped off with the vocal performance of 1990’s Napalm Death then you’ll come pretty close to understanding what’s in store for you. It’s really pretty uncanny how much front man & future Bolt Thrower & Hail of Bullets vocalist Dave Ingram sounds like Benediction’s former front man Mark “Barney” Greenway here & if I didn’t already know of Barney’s absence then I’d swear it was him. Ingram’s performance is admittedly one of the best parts of the album though so this isn’t in any way a negative thing.

The record kicks off with arguably it’s best song in the very solid “Unfound Mortality” but things rarely reach that level again with only the equally effective “Face Without Soul” competing for top honours. There aren’t any genuine classics to be found in this particular tracklisting but there are a few flat moments. Thankfully the wins outweigh the losses pretty comfortably which leaves us with another generally fun Benediction album that won’t change many lives but will rarely disappoint your average fan of the old-school death metal sound. I can’t agree with the general consensus that “Transcend the Rubicon” is Benediction’s best full-length though as I’ve found myself reaching for “The Grand Leveller” a bit more regularly over the years.

For fans of Bolt Thrower, Cancer & 1990's Napalm Death.

3.5/5

Benediction - "Dark is the Season" E.P. (1992)

Following on from this week's reassessment of Benediction's highly regarded 1993 third album "Transcend the Rubicon", I thought I'd better round out my coverage of the English death metallers' peak period by exploring their 1992 "Dark is the Season" E.P. as well, a release that I've always regarded as Benediction's finest work. It's perhaps not as widely recognized as the first three full-lengths but Benediction have never managed to convince me that they are anything more than a third-tier death metal act & "Dark is the Season" has traditionally been the record that saw me coming the closest to overcoming that issue, mainly due to the added level of consistency in its relatively short five-song tracklisting. I think it's fair to say that "Transcend the Rubicon" didn't exactly impress me like it has many of my peers this week. Let's see how time has treated this stop-gap E.P. that gave fans something to tide them over between Benediction's best two albums then.

"Dark is the Season" plays the classic role of the E.P. in many ways as it serves as a compilation of material that might not work all that well in an album format. There are two brand new songs in "Foetus Noose" & the title track, both which are mildly enjoyable but neither manage to maintain the quality of their best parts for the entire duration of the songs. Then we have an excellent cover version of Anvil's "Forged in Fire", a song that I'm very familiar with as it's one of the best tracks from a Canadian heavy metal band that I've always struggled with. Benediction give "Forged in Fire" more of a doom/death feel & the song-writing works very well in this context, not only doing justice to the 1983 original but also giving it a slightly different feel which sees it becoming one of the highlights of the release. Then we get a re-recording of a track from Benediction's 1990 debut album "Subconscious Terror" with original front man Mark "Barney" Greenway (Napalm Death) returning to the fold temporarily to perform the vocals. I don't mind "Experimental Stage" but the song-writing does sound a touch less mature than the other material which makes it the least enjoyable of the five songs on offer. And finally, we receive my favourite track from 1991's "The Grand Leveller" sophomore album in "Jumping at Shadows", this time the exact same version that was included on the album. So, as you can see, it's not hard to determine the label's intent with "Dark is the Season". It was clearly meant to keep Benediction's fanbase interested while they waited for the release of a new full-length.

Why do I consider "Dark is the Season" to be a touch more interesting than "The Grand Leveller" & "Transcend the Rubicon" & Benediction's finest work then? I think it comes down to the subtle differences in direction the band take with each release with "Transcend the Rubicon" showcasing a little bit more of a thrashy sound than the graveyard atmosphere I enjoyed on "The Grand Leveller". "Dark is the Season" sounds doomier than either of those releases & I think this is where Benediction are at their best because they were never going to impress me with their technical prowess or brutality. They're actually very good at slowing things down with their sound working brilliantly in that context. Dave Ingram's death growls are very powerful but also highly intelligible which sees them maximizing their impact over the more crushing slow sections. He does sound almost exactly like Barney though & you'll have that fact rammed down your throat once you discover that it's Barney performing on "Experimental Stage" as it's almost impossible to tell the difference. That song is the only one that keeps the tempo high for the duration & I don't think it's a coincidence that it results in the least impressive outcome.

The problem here is that Benediction never come close to executing a classic track, an obstacle they struggled to overcome throughout the peak period of their career & one that will see them forever remaining in the third tier for me personally. I don't enjoy the bouncier, thrashier or punkier beats they employ at times & they often have a tendency to see some of Benediction's best tracks being returned to also-rans. There were no duds included on "The Grand Leveller" but there were none that I regard as being exceptional either & I'm gonna have to say the same for "Dark is the Season" although it does contain as many of the band's more solid inclusions as that release, only across a shorter duration which gives it a slight edge. At the end of the day, "Dark is the Season" is another enjoyable yet inessential death metal record that may well be Benediction's best yet doesn't stand up to the better examples of the genre that were coming out of England at the time.

For fans of Bolt Thrower, Cancer & 1990's Napalm Death.

3.5/5

Sadist - "Above the Light" (1993)

Italian progressive death metallers Sadist first came to my attention via the mid-90's tape trading scene & it was their excellent debut album "Above the Light" that was the source of my initial interest, a release that is arguably still the band's most well-known record to this day. I was heavily into the more expansive & technical varieties of extreme metal at the time so Sadist's sound fit very comfortably inside of my wheelhouse but the overall quality displayed on "Above the Light" has also seen me returning to it a number of times over the many years since.

Sadist's sound is really built around one individual in guitarist/keyboardist Tommy Talamanca. His flashy neoclassical lead guitar solos & progressive synthesizer work are essentially what makes Sadist unique. Listening back now, there's no question that Tommy was a talented axe-slinger & I love his note selection however he definitely lacks the finesse & class of the absolute elite shredders the scene had to offer. His keyboard work is quite up-front in the mix but is used with a level of sophistication that tends to keep it free of any claims to cheese. It's very clear that Talamanca was heavily influenced by thrash metal because the vast majority of the album is better described as progressive death/thrash than death metal in my opinion with bands like Kreator having been a major source of inspiration. The progressive elements are more above the atmosphere & arrangements than they are about structural complexity so don't be scared off if you struggle with the more fiddly diddly modern day tech death artists.

The tracklisting is extremely solid with nothing falling short of tier two status. The album could definitely have done with a couple more standout tracks though as the only song that I find to be a true classic is the band's highly symphonic title song "Sadist" which possesses hooks that have cut so deeply that I can easily recall every nuance of it today, particularly Talamanca's stunning outro guitar solo which is one of the high points of the record from a creative point of view. My picks of the remainder are probably "Breathin' Cancer" & "Sometimes They Come Back" but there's a lot to like about the whole record in all honesty.

Sadist have certainly had their hits & misses over the years but there can be no denying the quality of their first up effort which is still my pick of their back catalogue in 2024. If you're a devotee of the flashier end of the extreme metal spectrum & don't mind a bit of a spacier progressive feel then I'd thoroughly recommend "Above the Light" to you.

For fans of Hieronymus Bosch, Neglected Fields & Atheist.

4/5

Edge of Sanity - "The Spectral Sorrows" (1993)

After recently completing revisits to the first two early 90’s albums from Swedish death metallers Edge of Sanity, I decided that it’d be a good idea to give those reviews a little more perspective by filling in my obvious gap in the band’s early story with a reinvestigation of 1993’s “The Spectral Sorrows” third album, a record that represented a significant stepping stone for the band in their journey towards top tier notoriety. I have to admit that I’ve never found myself sitting amongst the bigger fans of these Swedes but have always had time for most of their releases & I found further evidence of that in my reassessments of 1991’s “Nothing But Dead Remains” & 1992’s “Unorthodox”, even going so far as to claim that the former is an underrated release that I actually enjoy more than Edge of Sanity’s more unanimously praised mid-90’s releases. I believe I picked up “The Spectral Sorrows” from one of my local Aussie tape traders & former Elysium band mates who held them up as being his absolute favourite band at the time but I don’t recall myself returning to it since the middle of that decade so it’s time to see where it sits in the Edge of Sanity back catalogue.

The one thing that's clear from the outset is that Edge of Sanity benefitted from their change in studio for the recording of their third album. As with their first two full-lengths, they’d engaged Börje Forsberg (the father of Bathory mastermind Quorthon) to produce the record but this time the outcome was fuller & more vibrant which gave Edge of Sanity a more professional edge & the opportunity to step up in class. The fairly basic musicianship that could be found on the first two records is still on display but it’s been given a shinier coat of paint that makes it a touch more palatable, even if the lead guitar work can seem a little simplistic at times. Bassist Anders Lindberg had been unavailable for the sessions due to military service which left guitarist Andreas Axelsson to handle his parts although this isn’t a significant factor in the grand scheme of things with the classic Swedish guitar crunch & Dan Swanö’s imposing death growl once again being the main drivers in the Edge of Sanity sound.

The most interesting difference from the first two Edge of Sanity albums is the added melody on display on “The Spectral Sorrows”. I don’ think it’s enough to be calling it a melodic death metal record like many people seem to as there’s really only a few songs that go the whole way but it’s evident on a large portion of the album nonetheless. It’s perhaps not all that surprising that my enthusiasm for Edge of Sanity’s third album is curtailed a little more than it is with other fans as I’ve never been the biggest fan of the melodeath subgenre. There are other differences here too though. Where “Unorthodox” saw Edge of Sanity starting to experiment more with their sound, “The Spectral Sorrows” sees them taking a few of unexpected cracks at some widely disparate genres & this can be a little jarring at times. The cover version of Manowar’s “Blood of My Enemies” was a strange selection to begin with but doing it with clean vocals seems like a poor option as Swanö was hardly going to be able to compete with the great Eric Adams from a vocal perspective & the track subsequently falls fairly flat. The inclusion of a gothic rock track in “Sacrificed” fairs better with the deeper clean vocals feeling more than appropriate but it does feel a little out of place on a death metal album nonetheless. The neoclassical darkwave closer “A Serenade For The Dead” is probably the best of the more experimental material & was an enjoyable way to close out the album. Of the more traditional material, there’s a fair bit to like about the majority of it but things rarely touch upon the more elite levels that we know that death metal can achieve. The short opening title track is a stellar way to build tension & crunch into the first proper song while the creative “Lost” is probably my pick of the more traditional inclusions. These high points are offset by a couple of obvious fillers in the highly melodic “The Masque” & the uneventful “On The Other Side”, both of which I really struggle with. There simply aren’t enough genuine highlights to cover material like this so, much like Edge of Sanity’s first two records, I find myself ending up in middle ground with this album. The wins clearly outweigh the losses but those wins are rarely emphatic victories & this fact alone sees my scoring being limited in how high it has the potential to go.

Yes, there’s no doubt that “The Spectral Sorrows” is another generally enjoyable Edge of Sanity record but it’s lack of focus & consistency has left me feeling like I want to place it behind the Swede’s first two records in their overall pecking order. I have no doubt that the added melody has played into that a little but I don’t think that’s the sole factor here as the best moments on “The Spectral Sorrows” often see the band failing to fully capitalize (see the outstanding half-time intro section to “Waiting to Die” which is more or less nullified by the lightweight period that follows it). It’s pretty clear that Edge of Sanity are never gonna be a favourite of mine at this point, particularly as I enjoyed their next couple of classics even less than I did this one, but I feel that I can recognise their appeal in all of this. I just can’t quite put myself into the same head space as the rest of the death metal community seem to be able to when describing them & “The Spectral Sorrows” is a pretty clear example of that.

For fans of Hypocrisy, Intestine Baalism & Godgory.

3.5/5

Utumno - "Across the Horizon" E.P. (1993)

Swedish death metallers Utumno may only have been around for a few short years yet they managed to achieve a level of notoriety that has only grown with each passing decade & mainly off the back of this excellent six-track E.P. which I was lucky enough to pick up through the tape trading scene at the time. The Swedish death metal movement had peaked by this stage with its undeniable leaders Entombed having already started to move on to fresh creative endeavours however "Across the Horizon" offered diehard fans of the genre hope that all was not lost. I really enjoyed "Across the Horizon" as a teenager & have found myself returning to it quite often over the several decades since. It seems to have gained somewhat of a cult following in that time too which is not without merit & it's about time I exposed a few of our members to its charms.

"Across the Horizon" is an unapologetic celebration of the Swedish death metal scene. It doesn't try anything too different but Utumno's sound is still fresh enough to give them their own identity. The key ingredient here is energy as the production job offers a lovely balance between rawness & clarity & the compositions are all high on adrenaline. You certainly won't be surprised to discover that Utumno are Swedish as the guitar tone of guitarists Staffan Johansson & Denis Lindahl sits comfortably within the expected space without ever reaching for as many layers of distortion as some of the scenes main players. Drummer Johan Hallberg (also of thrash/speed metallers Cranium) can certainly blast away with the best of them but he picks his moments well which gives his blast-beats some added oomph when they do arrive. It's the psychotic vocals of Jonas Stålhammar (Abhoth/At the Gates/God Macabre/Macabre End/The Crown/The Lurking Fear) that puts the icing on the cake though & he often reminds me of Sadistik Exekution front man Rok in that he sounds genuinely unhinged which gives Utumno an additional edge.

The tracklisting is exceptionally strong with the vast majority of the material being very solid indeed. Both of the tracks that appeared on 1991's "The Light of Day" E.P. have been re-recorded for this release but I'm not familiar with the original so I can't say how they compare. I do find this version of "Saviour Reborn" to be the least impressive inclusion though & it sees the quality levels dipping just a touch. My favourite cuts are probably opener "The Light of Day", "I Cross the Horizons" & "Sunrise" although it's hard to pick between them as there isn't a genuine classic that stands out from the rest. Instead, we receive a consistent barrage of high-class death metal that should leave you feeling like Utumno have missed an opportunity in not continuing on past this release.

In the vast sea of Swedish death metal releases from the early 1990's, it's easy to see how a record like "Across the Horizon" might have been swallowed up, reliant on the long-term affection of the more committed underground followers to perpetuate its reputation. Time has seen it rising to the top though & I have to say that I'm glad because it's a very fine record in its own right. I may not be the biggest fan of the Swedish sound when compared to the more sophisticated US one but that doesn't stop me from appreciating the savagery that Utumno harness in battering their way through this collection of underappreciated death metal history.

For fans of Gorement, Uncanny & God Macabre.

4/5

Depravity - "Silence of the Centuries" E.P. (1993)

Finnish death metallers Depravity were only together for a relatively short time & released only a very small amount of material but it was strong enough to gain the attention of the extreme metal underground which led to me picking up both of their E.P.'s through the tape trading scene. I believe it was their 1992 "Remasquerade" E.P. that first graced my ears but it impressed me enough to see me seeking out the follow-up "Silence for the Centuries" which was a little stronger & seems to have developed somewhat of a cult following over the 31 years since its release. Deservedly so too in my opinion because, listening back now, one has to wonder why Depravity weren't more well known back in the mid-1990's.

"Silence of the Centuries" is a five-song affair that spans just 21 minutes but leaves a lasting impression nonetheless. It doesn't attempt anything you haven't heard before but is unanimously successful in everything it undertakes. The mastering does tend to be a little variable with the volumes differing a little from track to track & the MDM-Studios production job can sound a touch different with each song too but I feel that this element only adds to the release's mystique. The Depravity formula is simple yet both efficient & effective. It takes the rock-solid, muscular, crunchy BOSS HM-2-driven Swedish death metal sound & combines it with the more atmospheric, moody & melodic sound of their Finnish homeland. It works an absolute treat too with the eerie yet qwuite beautiful lead guitar component being a clear feather in Depravity's cap.

The musicianship levels of the four instrumentalists is well up to the task with the rhythm section of bassist Petri Ilvespakka (Diaboli) & drummer Matti Johansson (Korpiklaani) laying the perfect platform for the guitars & vocals to work from. The Entombed-style tremolo riffage of the twin guitar attack of Elias Viljanen (Diaboli/Sonata Arctica) & Olli are another major protagonist in the direction of this material with the melodic hooks proving to be highly memorable & a touch more atmospheric than you would normally expect from your dime-a-dozen Swedish mob, kinda like Darkthrone delivered on their debut album "Soulside Journey". In fact, there's also the occasional reference to black metal in the way the riffs are constructed too which adds layer of intrigue for me. The only lineup change from 1992's "Remasquerade" E.P. is the replacement of front man Petro with newcomer Martti who had also appeared on the "Phantasmagoria" demo earlier that year. While Martti's delivery isn't anything terribly original, his deep, dark death grunts work really well with the Depravity sound & remind me of Benediction's Dave Ingram at times although they're a little less intelligible.

The short tracklisting is entirely without blemish but I will say that "Silence of the Centuries" is a touch top-heavy. The opening three tracks are easily the best ones with the opening title track being my personal favourite. The last two songs ("Phantasmagoria" & "Vacuum of Thoughts") are both pretty decent but seem like a step down from the earlier tracks. Still... it's hard to be too critical because Depravity have produced an excellent release here & one that compares very well with its Finnish death metal peers. While it may not try anything too bold, it does manage to borrow from the Swedes in a fashion that still sounds undeniably Finnish which is a testament to the band's maturity & class. I think most death metal fans will find something to enjoy with "Silence of the Centuries" without having to make a huge investment of time. I do have to wonder whether the fact that Depravity's recording career was so fleeting has contributed significantly to their underground following because I have to admit that it does add a little but of extra intrigue to a release that still clearly belongs in the second-tier of the genre.

For fans of Cartilage, Abhorrence & Demigod.

4/5

Dismember - "Indecent & Obscene" (1993)

For many extreme metal fans, the filthy Swedish death metal sound is the epitome of what death metal is all about. It's thick & noisy BOSS HM-2 Heavy Metal pedal guitar tone & up-beat, punky beats give it a lovely balance of savagery & accessibility. For me personally though, I've always preferred the more sophisticated & brutal US sound, even if I've been able to appreciate the way that the Swede's go about their craft. I was exposed to artists like Entombed, Carnage & Dismember very early on in the death metal story & had always found them to be interesting but rarely did I find myself making regular returns to these records which was telling. Entombed's classic "Clandestine" sophomore album was one of the rare exceptions & I still regard it as the clear pinnacle of the movement today with every other record simply competing for second place. Dismember are generally regarded as the undisputed runners-up & I did quite like their first two proper releases "Like an Ever Flowing Stream" & "Pieces" as well as two of their three early demo tapes but it was rare for me to place them into regular rotation like most death metal fans did. Despite that, I still found myself purchasing 1993's "Indecent & Obscene" sophomore album on CD upon release & I recall finding it to be one of the better Swedish death metal releases & my favourite Dismember record to the time. I've recently found myself wondering exactly where I'd place it in terms of the entire movement though so it's been on my radar for a return visit for some time now.

The whole "blood & guts/gore" thing was probably at its peak in 1993 with a lot of acts competing against each other to see who could shock the public the most &, in doing so, give themselves some additional hype & street credibility by getting their cover artwork banned. Dismember had already created some controversy off the back of a song called "Skin Her Alive" from their debut album so it was no surprise to see them trying to replicate that media exposure with the front cover of "Indecent & Obscene" which is unapologetically gruesome. From memory I think this was probably a factor in me picking the release up so early because I remember thinking that it'd be banned or censored shortly afterwards which would give my CD some added value. The band had returned with the same line-up that had recorded their first full-length & would once again record at the infamous Sunlight Studios in Stockholm with legendary Swedish producer Tomas Skogsberg. The result of their efforts sounds a little different to "Like an Ever Flowing Stream" & "Pieces" though with the overall production being noticeably cleaner. The classic Swedish wall-of-sound guitar crunch is still there but it's nowhere near as noisy as it had been up until that point & I think that element was something that attracted me to "Indecent & Obscene" more than other similar releases of the time. Everything is easily discernable in the mix with the excellent vocal performance of front man Matti Kärki (Carbonized/Carnage/General Surgery/Murder Squad/Therion) being given plenty of room to move over the top. The guitar solos are probably the only area where I think Skogsberg got it a little wrong as they sound unusually restrained at times given the carnage that surrounded them. In fact, the technical ability of lead guitarist David Blomqvist (Carnage/Entombed/The Dagger) was still fairly basic anyway so the solos wouldn't have been anything to write home about regardless to tell you the truth.

"Indecent & Obscene" kicks off in splendid fashion with opening cut "Fleshless" being my favourite inclusion on the album & a powerful way to begin proceedings. The short two-minute blast of energy that is "Eviscerated (Bitch)" is my other clear standout as it invariably manages to get my blood pumping. The remainder of the album hasn't quite hit the same sort of levels I expected of it given my lofty expectations though to be fair. I don't think there are any weak tracks included per se but there isn't anything that I'd suggest is particularly classic though either with the remaining seven tracks all being no more than decent. It's not mentioned all that often but there's a little more groove to this material than there was previously & I think you can hear the impact of Entombed's ground-breaking "Wolverine Blues" on Dismember to an extent, even if I wouldn't suggest that any of these numbers are fully-fledged death 'n' roll songs. There are certainly elements of that sound at play here though & perhaps that's why I've struggled to commit as I've never been the biggest fan of that style, despite holding a fair bit of respect for "Wolverine Blues" as the clear protagonist of the movement. Closer "Dreaming in Red" even sees Dismember adding a fair bit of melody to their sound, so much so that I'd suggest that it should qualify as melodic death metal.

Going into this revisit, I was fully expecting to come out of it with a solid four-star rating that would place "Indecent & Obscene" above Dismember's earlier releases in the death metal pecking order. That hasn't ended up being the case though & I've found the comparisons with the Swede's earlier releases to be much more closely fought. I think I'm gonna have to admit that I enjoy "Like an Ever Flowing Stream" the most of the three records these days but there's very little between the other two. I'm gonna have say that my gut tells me that I enjoyed my recent revisit to 1992's "Pieces" E.P. just slightly more than this resitting of Dismember's second album though so it's gonna be resigned to third place for the moment. I do recall really digging 1989's "Reborn in Blasphemy" demo tape during my tape trading days though so perhaps it might be worth checking out again at some point to see if it might actually usurp the lot of them. As it stands though, "Indecent" & Obscene" is another decent effort from one of the leaders of the Swedish death metal movement & I'm sure it'll offer plenty of appeal to the Swedish diehards but my misgivings about the style that Dismember plays have once again seen my rating being capped at a less than spectacular (yet still more than respectable) level.

For fans of Entombed, Carnage & Grave.

3.5/5