Daniel's Reviews
Revisited this oldie for the first time in ages this week. I picked the CD up upon release back in the day after being impressed by Enslaved on the Emperor split & the album didn't disappoint me either. The majority of the tracklisting takes an expansive Norwegian black metal approach but there's also a Viking Metal component that differentiated it from some of the competition along with the regular use of keyboards without ever threatening to push out into "symphonic black metal" territory. I have to say that time hasn't been that kind to those synthesizers as they sound very dated & more than a little cheesy these days. Grutle Kjellson's vocals were pretty gurgly at this point too & could have been a little better. There's some wonderfully classic black metal on here though & I was heading towards awarding it a premier rating until the decidedly Moonsorrow-ish closing instrumental piece "Norvegr" popped up at the last minute to bring me back to earth. It's not a bad track but it's folky Viking Metal stylings aren't anywhere near as much to my taste as a blasting black metal monster like "Vetrarnótt" (my album highlight) or "Midgards eldar" with it's obvious early-90's Bathory influence. After revisiting Enslaved's super-popular 2003 album "Below the Lights" recently I'd have to say that I prefer "Vikingligr veldi" these days & I wonder how much of that is nostalgia. I'm not too sure but I can't say that I think of "Vikingligr veldi" as sitting amongst the elite Norwegian black metal releases. It's a second tier record for mine but a strong one at that.
For fans of early Emperor/Windir & Viking-era Bathory.
Genres: Black Metal
Format: Album
Year: 1994
Revisiting the debut full-length from this legendary Atlanta outfit has seen me viewing it in a new light. I'd previously felt that it was a touch overrated & found that I enjoyed it less than their later work however I tend to think that my judgement may have been clouded by to the fact that I came to it immediately after having first encountered Mastodon's most classic albums "Crack The Kye" & "Leviathan". When taken in isolation & with fresh ears though I've discovered an entirely new appreciation for the ridiculously well-executed progressive sludge metal the band were wielding at the time. As is usually the case with Mastodon records, drummer Brann Dailor is the clear highlight & boy does he go to town here! He may just be one of top few drummers of all time these days & I can't get enough of his trademark fills & snare rolls. There's a metalcore influence on a couple of tracks (particularly on short opening track "Crusher Destroyer" which is the highlight of the album for me) but anyone labelling "Remission" as a metalcore release is misguided. The tracklisting kicks off with some major impact given that tracks 1 & 2 are the best of the eleven tracks but that's not to say that the rest of the record is a disappointment by any means as there's a solid consistency to every track included. There's just not the hooks to see me adjusting my opinion from a "very solid" release to the "classic" one that some people seem to claim it is. Still... anyone who enjoys a more expansive take on sludge will get a lot out of "Remission". In fact, I'd probably take it over a record like 2006's "Blood Mountain" these days.
For fans of Baroness, Dvne & Intronaut.
Genres: Progressive Metal Sludge Metal
Format: Album
Year: 2002
It's been many years since I revisited this seminal & quite bizarre one-off record from Norwegian avant-garde progressive metal outfit Ved Buens Ende..... & that really needed to be rectified because it's a truly confounding & resoundingly original piece of work from a band that were far too young to achieve such a feat. I first encountered Ved Buens Ende..... through the 1996 Blackend Records compilation "Blackend: The Black Metal Compilation Vol. 1" via one of the highlight tracks in "Carrier of Wounds" & immediately found myself captivated but it took time for the full effects to take hold because there's simply far too much going to be able to grasp it in one or two sittings. There are enough common traits to comfortably determine that Ved Buens Ende..... hail from the Norwegian black metal scene of the early 90's & you'll see plenty of evidence of that across the tracklisting however to describe them as a black metal band is far too limiting. You can expect to hear dissonant & completely atonal open-string guitar work that wouldn't seem out of place on Voivod's more ambitious records mixed in with jazzy experimental drumming & unusual & quite powerful clean vocals that somehow seem to draw upon dark melodies that perfectly compliment the tense atmosphere. Then a simplistic & consciously grim old school black metal section will appear out of nowhere & the snarliest, croakiest blackened vocals this side of Darkthrone will leap forth to penetrate your calmed state & remind you that this is still a release that has been born from the darkest pits of extreme metal territory.
For all those positives, Ved Buens Ende..... don't get it all right here. I rarely find an entire track to ticks all of my creative boxes with only the lengthy "Remembrance of Things Past/To Swarm Deserted Away" doing enough to qualify as a genuine metal classic in my opinion. There are also a couple of pretty ordinary atmospheric pieces included in "Autumn Leaves" & the hidden track that closes the album, both of which suffer from being too loose & wishy washy. Thankfully though those are the exception rather than the rule with the more substantial works being much more successful in their realization of an ambition that's stood out amongst its peers ever since. The best moments occur when the clean vocals manage to penetrate my soul in a way that leaves their eery melodies still easily recalled by my brain all these years later. More often than not these melodies are accompanied by a majestic & often dissonant guitar arpeggio that could only have been drawn from the Norwegian black metal scene yet somehow doesn't feel like black metal at all & it's this sort of contradiction that makes "Written In Waters" an enthralling ride, despite all of its imperfections.
For fans of Dødheimsgard, Fleurety & In the Woods...
Genres: Avant-Garde Metal Progressive Metal
Format: Album
Year: 1995
It came as a bit of a shock to me but I actually don't think I've ever listened to "Roots" up until now. I was previously under the distinct impression that this was the point that Sepultura lost me but given that I've experienced no semblance of familiarity with most of the tracklisting I can only assume that my interest was simply too heavily entwined in the extreme metal scene to pay any notice to the Brazilians sixth full-length. But you know what? It's not a bad record to tell you the truth. It was certainly the band's least appealing offering to the time & is far too inconsistent to even think about my higher scores but I can't say that I find it to be as repulsive as many other ol' thrashers seem to.
"Roots" offers an interesting combination of styles with Sepultura having completely dropped their trademark thrash metal sound by this stage, instead adopting an approach that sits somewhere between groove metal, nu metal, hardcore punk & Brazilian tribal folk music. I can't say that it always works & there are a fair few failures along the way (particularly the God-awful "Ratamahatta") but when the band get it right they can still produce a very solid piece of bottom-heavy metal music, even though it won't be as musically & melodically impressive as they were capable of in their late 80's/early 90's prime. The Korn influence is plain for all to see but that's not to say that Sepultura do a bad job at incorporating nu metal into their sound. The parts that annoy me the most tend to be when they use the scatty Brazilian vocals over a metal backing or even opt for snippets of turntablism. The hardcore sections sound really natural though with gravel-throated Max Cavalera fitting the mould very well while the expanded focus on the traditional music of their Brazilian homeland was the natural destination for the journey they'd started with 1991's classic "Arise" album. The noticeable omission is Andreas Kisser's lovely touches of lead guitar melody seem to have become the victim of a more modern approach which is a shame.
While this might not be the most inspirational or addictive Sepultura release it's hard to deny that the band's intentions were in the right place as they can't be accused of simply repeating the formula that they'd built their career on. My personal preference in metal isn't really in line with the groove/nu metal direction that "Roots" has taken but the simple riffs contain enough quality to keep me interested, especially on the darker songs like "Cut-Throat", "Lookaway" & "Ambush". The beautiful acoustic folk guitar piece "Jasco" is a nice addition too. "Roots" may not be essential listening but I think it's worth a few spins nonetheless.
For fans of Soulfly, Machine Head & Korn.
Genres: Alternative Metal Groove Metal
Format: Album
Year: 1996
2013's "Sunbather" record was one of the most divisive I can remember in my extreme metal journey & it's not hard to see why either but I'm not afraid to confidently state that I fell firmly into the camp that thought it was a masterstroke. Deafheaven's debut album "Roads to Judah" was a really solid example of post-blackgaze however "Sunbather" saw the band maximizing all aspects of their sound &, in doing so, set the metal world alight. Given the magnitude of that album, future Deafheaven releases were always going to be compared to it & that can probably be seen as a disadvantage, particularly given the tendency for people to prejudge based on past experiences. And this brings us to Deafheaven's fourth full-length album "Ordinary Corrupt Human Love" which sees the band taking their sound even further away from the black metal scene's comfort zone.
If you come in looking for black metal here then you'll be disappointed as there's really very little on offer apart from George Clarke's Ihsahn-like gurgles. In fact, it's quite hard to identify much in the way of any sort of metal for most of the record to tell you the truth. Instead the instrumentation draws from widely disparate (yet universally accessible) forms of rock music & manages to pull it all off with an ease that only the elite artists in the scene can manage. Melodic shoegaze? Tick. Stripped-back post-rock meanderings? Tick. Whispy dream pop vocals? Tick. Lush & progressive art rock excursions? Tick. Ethereal darkwave atmosphere? Tick.... & all executed with aplomb too. Opening track "You Without End" offers about the only weak point on the record via some ill-guided black metal shrieks layered over some particularly easy-listening art rock instrumentation which sounds well out of place. Thankfully the musicians execute their parts with enough sophistication to leave the track feeling predominantly positive as a whole but I have to admit that it was a strange decision to open with the weakest number on the tracklisting. From that point on Deafheaven don't put a foot wrong but in saying that they don't ever really see me thinking about reaching for my higher scores either. I guess the musical positivity that Deafheaven surround themselves with is still a little too far away from my sweet spot for that however I can't deny that they've managed to fully realize yet another brave & ambitious artistic undertaking here.
The more intense parts are still my favourite parts which won't surprise anyone but the indulgent post-rock sections are nothing short of lovely too. It's interesting that, despite the lack of genuine metal here, I still think the album is best described as post-blackgaze, mainly because George's vocals simply don't belong anywhere outside of the metal spectrum. There's not even all that much shoegaze on offer here either but there isn't another black metal-related subgenre that could possibly encompass the positivity in these melodic themes so it just seems to fit.
I'm honestly not sure that Deafheaven can put a foot wrong at this point no matter what subgenre they tackle & "Ordinary Corrupt Human Love" is yet another strong release that sees them flexing their creative muscles. Thankfully the extreme metal world seems to be ready for it too.
For fans of Alcest, Ghost Bath & Oathbreaker.
Genres: Black Metal Post-Metal
Format: Album
Year: 2018
When I first heard English funeral doom masters Esoteric's highly regarded sophomore album "The Pernicious Enigma" back in the day I found myself struggling with various different elements. There's no doubt that the production job could have been much better & that was my main obstacle however I also found the continuous wave of layered vocals & the extreme length of this release (i.e. a 115 minute double album of funeral doom metal can be daunting at the best of times) to be a challenge. Since that time Esoteric have become one of my absolute favourite bands though & this revisit has seen the penny finally dropping for me with everything the band were trying to achieve now being hungrily lapped up by this fussy ol' bastard.
That's not to say that "The Pernicious Enigma" is a perfect record(s) by any means. The occasional use of more up-tempo sections are nowhere near as effective as the rest of the material with the short industrial death metal piece "At War With the Race" failing to meet expectations. There are a few attempts at off-beat drumming that don't really stick the landing either & the fact that they've had to resort to using a drum machine for a few tracks tells a pretty clear story about fill-in drummer Anthony Brewer's talents. Nonetheless, the consistency with which Esoteric are able to deliver wonderfully monstrous masterpieces of psychedelic depravity is unprecedented & one needs only take a cursory glance at the likes of "Dominion of Slaves" or "Sinistrous" to realise how all-encompassing that idea can be when all the planets align. The incorporation of a diverse array of influences also helps to free the band from the strict stylistic confines of the funeral doom metal genre with Godflesh style industrial moments & slowly building post-metal build-ups proving to be invaluable assets here along with Esoteric's inimitable penchant for mind-expanding psychedelia.
Esoteric are untouched in their field & even a thin production job where the rhythm guitars have nowhere near the weight that they deserve is not enough to stop them from looking down on the competition from their funeral thrones while we bask in yet another glorious procession of unwavering doom.
For fans of Evoken, Thergothon & Skepticism.
Genres: Doom Metal
Format: Album
Year: 1997
Let me set the scene for you. It’s mid-1990 & a fourteen year-old boy (admittedly a very good looking one) sits in his bedroom in Sydney late at night with his headphones on listening to the radio with a cassette player set to record the show at the same time. The track changes & a chuggy throb starts up that’s unlike anything the youth has ever heard before. A guitar appears & starts playing a palm-muted melodic run then all of a sudden… IT HITS! The whole band kicks in & starts slamming out one of the tightest, chunkiest grooves metal had ever heard to the time. It's fair to say that the young man’s ears have more than pricked up by this stage but what’s this? The guitar solo comes in unaccompanied in a similar way to his idol Eddie Van Halen. And Jesus Christ this dude can shred! He’s got chops for days, weeks & years! And those vocals! They exude a powerful hardcore attitude but still maintain a strong sense of melody. The boy would replay this song repeatedly over the next week until the late night metal show returned the following week. This time we had another inclusion from this supposedly new band Pantera but it was a heavy metal inspired ballad with soaring vocals & dive-bombing guitar solos like none he’d heard before. This ongoing week-to-week process would go on for some time before the boy felt the need to pick the full album up through tape trading & he would give it a good ol' thrashing over the next year or so. Pantera would release their breakout sixth album in 1992 & would subsequently change the world with their story going down in metal history for all eternity.
I imagine that this would be a fairly familiar story for many of us but it’s one that I remember vividly. It was immediately apparent that there was something different about Pantera’s “Cowboys From Hell”, an album that most fans assumed was their recorded debut until they’d learn otherwise. You see Pantera had begun life as a decidedly run-of-the-mill heavy metal band with an unusually talented lead guitar virtuoso in their early teens under the guidance of Darrell & Vinny’s record-producing father. They’d release four albums between 1983 & 1988 that would drift a long way under my radar before finally discovering a new sound & taking it to the world. The resulting “Cowboys From Hell” album not only showcased that new direction to the world but it would also signal somewhat of a changing of the guard for a thrash metal scene which was starting to decline in the wake of the fast ascending grunge phenomenon that would completely explode the following year. But listening back now it’s hard to deny that “Cowboys From Hell” was very much a transitional album too as the tracklisting doesn’t completely embrace this new sound (known as Groove Metal) at the expense of past glories. I think it’d be more accurate to suggest that it incorporates it as the primary source of creativity while blending it with more familiar sounds. As a result, I find it hard to deny that this is as much a thrash record as it is a groove metal one with the remnants of Pantera’s Judas Priest worshipping US power metal experimentation still showing their head on quite a few occasions.
I think it’s important to note that if I had of rated this album back in the day I would likely have scored it a bit higher than I have here but it’s also worth mentioning that I’ve somehow managed to shun it completely for a good couple of decades which seemed kinda strange too. When listening to “Cowboys From Hell” with new ears now though it’s certainly not a perfect record & I can easily see why it wasn’t the soundtrack for my youth that it was for so many others. You see it hasn’t aged as well as I’d hoped. The production sounds kinda dated now, particularly the rhythm guitar tone which left so many jaws on the ground back in the day. It’s also easy to forget that there are three or four weaker tracks amongst the twelve on offer. No weak ones mind you, it’s just important to recognise that it wasn’t all hits. I have to admit that the whole groove metal thing isn’t really my cup of tea & that’s reflected in my opinion on some of the supposedly classic tracks on the album. Songs like the title track & “Domination” don’t smash me like they do/did other metal fans. I certainly like them (& I adore the guitar work in particular) but they aren’t going to see me reaching for my elite scores. Those are reserved for the tracks that steer away from the new groove metal sound with thrash metal anthem “Message In Blood” being the clear album highlight for me. It’s interesting that it’s also one of the least popular tracks on the album but that’s not unusual for me. The other track that completely slays is the classic heavy metal ballad “Cemetery Gates”. The main riff has clearly been inspired by Randy Rhoads era Ozzy Osbourne & is one the greatest in the history of metal in my opinion, particularly when used in conjunction with Phil Anselmo’s wonderfully emotive chorus hook. What an amazing climax Darrell & Phil created at the end too!
The new groove metal sound is best championed on the title track, “Primal Concrete Sledge”, “Clash With Reality”, “Medicine Man” & “The Sleep”. “Heresy”, “Message In Blood” & “The Art Of Shredding” are pure thrash metal though while tracks like “Psycho Holiday”, “Cemetery Gates” & “Shattered” give hints towards US power metal & even your more traditional heavy metal. The fact that you can very easily differentiate the different songs & parts of songs into their various categories tells you that Pantera’s sound was still a work in progress at this stage. It was a very impressive work in progress of course but I wouldn’t say that “Cowboys From Hell” is where we see groove metal being truly defined. That would have to wait for Pantera’s 1992 sixth album “Vulgar Display Of Power”, a record that I’ve now decided I appreciate a touch more than this one after all these years. There can be no denying the power of this band as a unit though. The rhythm section were as tight as you’d find & when they hit on one of their classic grooves it draws a physical response from the listener. For me though I’d suggest that there’s not a lot of depth to some of the groovier material outside of that head-nodding, body swaying thing that happens. I find songs like “Heresy”, “Domination”, “Clash With Reality” & “The Sleep” to be more of a pleasant experience than essential listening. Phil’s vocal performance still has one foot in the higher register Rob Halford camp most of the time & I wonder whether my knowledge of his screamier & more aggressive hardcore-inspired future is seeing me subconsciously craving a bit of that when listening to “Cowboys From Hell” these days.
Ultimately it’s very hard to be critical of this record as it sounded so fresh at the time & changed the metal landscape forever in several ways. While my score is still a good one it’s definitely limited by my musical comfort zones. I think I might need to revisit some of Pantera’s later works over the next few months to see how those records have been treated by time too. I suspect that I might find at least one of those to overtake the two early 90’s big boys at this point in my life.
For fans of Soulfly, Sepultura & Exhorder.
Genres: Groove Metal
Format: Album
Year: 1990
I didn't have much time for French blackgaze outfit Alcest's 2010 sophomore album at the time of release as I simply couldn't accept a wispy, ethereal & generally positive sound within the context of extreme metal at the time. It just seemed too much at odds with my concept of what a black metal record should be. I think it says a lot about how far I've come as a music fan that I'm now able to not only accept but actually enjoy albums like this one these days. It's simply a matter of accepting that this isn't meant to fit into my personal ideals & needs to be judged on its own merits instead of being placed next to my beloved Bathorys & Mayhems.
"Écailles de lune" sees Alcest presenting combination of shoegaze, black metal & post-rock elements (along with some noticeably goth rock inspired clean guitar sections) in what I'd describe as a post-blackgaze release overall. The vocal style ranges from dreamy, unintimidating & androgynous clean singing to screamy black metal shrieks while the instrumentation offers a lot of variety with noise-laden shoegaze walls of sound leading into blasting black metal tremolo-picked riffage & stripped back post-rock meanderings. My enjoyability of the material included across the six tracks also varies quite a bit too with the brilliantly executed short dark ambient piece "Abysses" being my clear album highlight. Opener "Écailles de lune - Part 1" & the wonderful "Solar Song" see Alcest indulging in your more traditional shoegaze melodicism while closer "Sur l'océan couleur de fer" opts for a drawn-out post-rock excursion. The black metal elements are mainly left for post-black metal anthem "Écailles de lune - Part 2" & the disappointing blackgaze of "Percées de lumière" which is the only one of the six tracks on offer that I don't get along with.
The production job is of course lush & accessible with everything sounding very easy on the ear. It's interesting how Alcest can manage to use the black metal tools of evil in such a positive way but still make it sound so natural. It certainly makes for another interesting Alcest release but I can't say that I enjoy "Écailles de lune" quite as much as I do some of their other albums like 2016's "Kodama" or their 2007 debut "Souvenirs d'un autre monde". I don't think I find it's appeal to be quite as consistent this time & the inclusion of "Percées de lumière" does tend to grate on me a little bit when you consider that there are only the six tracks on offer. Still... I get quite a bit of enjoyment out of "Écailles de lune" these days & can't really fathom how I could have scored it a 2.5/5 back in the day given that I was actually pretty close to going with a 4/5 on this revisit.
For fans of Amesoeurs, Deafheaven & Lantlôs.
Genres: Black Metal Post-Metal
Format: Album
Year: 2010
2009’s widely celebrated “Płoń” E.P. represented my initiation into the world of highly regarded Polish black metal outfit Furia shortly after my return to metal the same year. I’d noticed the praise it was receiving amongst some of the more reputable online metal resources & felt compelled to see what the modern black metal scene had to offer given my past passions for the genre. Given it’s short duration, I was possibly able to justify a few more repeat listens than I’d generally give to a release that doesn’t immediately tick a few of my boxes too so Furia can’t say that they weren’t given a fair crack at winning over my affections. I guess the only question remaining is how successful they were in this endeavor so let’s dig right into that then, shall we?
“Płoń” is an interesting release in that Furia manage to cover almost the complete scope of the subgenre set contained by The North in just a short 15 minute package which is most unusual, especially when you consider that the overall result doesn’t sound terribly jerky & works pretty well as a representation of a defined Furia sound. You’ll find elements of everything from your conventional black metal model to atmospheric black metal to melodic black metal to black ‘n’ roll to Pagan black metal to folk metal to Viking metal to post-black metal on this three track E.P. which made it a pretty good candidate for a feature release in my opinion (thus me selecting it I guess). There’s something for everyone here but it’s Furia’s sweeping & consistently melodic black metal riffage that ties everything together & ensures that “Płoń” doesn’t sound in any way jerky, despite jumping from subgenre to subgenre fairly regularly.
Furia’s sound is quite organic in black metal terms which ties in well with the Pagan aesthetic of some of the material. Vocalist Nihil (also the mastermind behind Polish black metal outfit Morowe) offers a tortured yelp more than your traditional black metal scream & often brings to mind self-mutilating Shining front man Kvarforth in that regard while Namtar’s drums possess a refreshingly natural tone that’s light-years away from the clicky triggered sound of most modern black metal drum kits. It simply sounds like a real kit that could be sitting in the room with you & is being played by a real human being. The guitars have a warm tone too which accentuates the tremolo-picked & arpeggiated riffs nicely.
The E.P. opens up with “Zgniję, nie odpowiem!”, a track that frustrates me to be honest because it simultaneously holds the releases best & worst moments. The drawn-out post-metal breakdown in the middle of this track is beautifully ambient & atmospheric & shows the potential in Furia's sound but this is surrounded by parts that offer me very little appeal. I struggle at the best of times with a lot of folk metal & Pagan black metal & this track is where you’ll find the most obvious references to those subgenres along with some black ‘n’ roll beats that were never likely to go down too well with this old extremist. All of this unfortunately amounts to a disappointing opening to proceedings. Things pick up from there though with the more traditional black metal of “Ohydny jestem” & the album highlight title track being much more to my taste. I can’t say that either tick all of my boxes though. There’s still a bit more melody than I’m comfortable with at times as this isn’t the most sinister sounding black metal you’ll find. The Viking section (complete with the backing of a choir) in the title track isn’t something I’d usually go for but I can’t help but be won over by the atmosphere in that track nonetheless.
Look, I’m not going to tell you that “Płoń” is an essential release or a hidden gem but I chose it because I think it’ll offer a broad cross-section of our members plenty of appeal & likely more than it does for myself. My own feelings haven’t changed terribly much as I still don’t love this record as much as a lot of the underground seems to but I can see the reasons that it’s regarded so highly as it’s an accessible yet artistically diverse release that’s well composed & executed.
For fans of Odraza, Morowe & Plaga.
Genres: Black Metal
Format: EP
Year: 2009
I can still vividly remember the day I picked this CD up very shortly after release. I'd been a hhhuuugggee fan of Pestilence's previous album "Testimony of the Ancients" so I had very high hopes for its successor. I had no idea of what to expect going in though so I was as surprised as anyone with the band's new direction which took some huge creative risks through the full integration of jazz fusion influences into their signature death metal sound. Atheist had already gone down that path a couple of years earlier with their classic "Unquestionable Presence" album but this was a very different kettle of fish sporting a totally fresh take on the concept.
As Ben suggested above, "Spheres" was almost unanimously panned within underground metal circles at the time but we never really paid a lot of attention to what the masses thought & both found the sheer ambition & creativity of this album to be nothing short on invigorating. I don't think there's any doubt that Ben's enthusiasm was a little more intense than my own though & this revisit has reminded me of why. You see, while there's no denying that Pestilence deserve a lot more credit for their bold adventurousness here, there are plenty of moments that simply don't work too. You'll find overly complex rhythms that push the musicality limits a little too far, cheesy & dated sounding synth lines that sometimes clash with the metal riffage & intentionally off-key leadwork that crosses over the line into sickly territory but then there are also some stunningly angular riffs that remind me of Swiss tech thrashers Coroner as much as anyone & some wonderfully entertaining jazz drumming & bass playing to accompany Patrick Mameli's signature death growls which I'd loved for many years by this stage. Tracks like "Soul Search" & "The Level of Perception" are up there with the band's finest work but other pieces seemed misguided & over-ambitious & fell on their own swords in the name of art (see the jazzy "Personal Energy" or closer "Demise of Time"). It's intriguing stuff. You can't deny that. But it's not quite fully realised in my opinion. The sentiment was right but the execution got a little bit ahead of itself. Perhaps Pestilence just needed another record between "Testimony of the Ancients" & this one to test the waters & try things in a less extreme format before taking the plunge? I think that's probably the case but credit where it's due because "Spheres" represented one hell of a side-step for extreme metal.
There's no denying that "Spheres" was unfairly crucified by the metal public who weren't quite ready for this sort of experimentation from one of their death metal pin-up boys at the time but for me "Spheres" represents a very brave move from a well established band that were always looking to take death metal to its next logical step. The positives comfortably outweigh the negatives & I generally find the experience to be thoroughly rewarding with even the parts that failed to gel earning brownie points for ambition. Don't believe everything you read about this record because it's well worth your time.
For fans of Death, Atheist & Cynic.
Genres: Death Metal Progressive Metal
Format: Album
Year: 1993
I've been aware of Plini's existence for a long time now given that he hails from my home town of Sydney although I've never gotten around to giving any of his records a spin until now & I can honestly say that I've been very impressed with the experience too. The dude not only has chops to burn but he also understands the value of quality song-writing. What we have here is a combination of djenty progressive metal, artsy progressive rock & experimental jazz fusion (three styles that offer a lot of appeal for me personally), all bundled up into your classic late 80's instrumental guitar virtuoso style package. Plini wears his influences on his sleeve as I can easily pick up elements of Joe Satriani, Steve Vai, Allan Holdsworth & Al Di Meola in his sound however he still manages to give his solos his own personal touch as well. The thing that really dazzles me is his restraint & his stunning use of phrasing. This is certainly NOT your showiest guitar shredder record & that's a credit to Plini's understanding of what makes good music, something he's likely learnt from Satriani's philosophies on composition. He sounds like he's in total control at all times & there's not a note that's played without purpose & conviction. The simpler Satriani-esque melodies are definitely the highlight for me here, along with the more stripped back solos where Plini can be more emotive & expressive. Where he starts to lose me a bit is when he ventures into that quirky & joyous Frank Zappa-inspired territory that Steve Vai has so often made his own in the past. It all gets a little too arty-fartsy for my taste once things head in that pleasantly unintimidating early 80's jazz fusion direction but I don't ever feel like pressing skip because the promise of something more interesting is always only a few moments away.
Overall I'd suggest that "Handmade Cities" is a really solid example of the instrumental guitar record & has enough of a point of difference to represent a fresh take. What it lacks though is those one or two standout tracks that can elevate a "very solid" record to an "outstanding" one but you get the feeling that Plini has that in him on the evidence here & he may have already delivered on that potential for all I know.
For fans of Liquid Tension Experiment, Joe Satriani & Steve Vai.
Genres: Progressive Metal
Format: Album
Year: 2016
I'd never encountered Chilean thrash metallers Parkcrest before but ended up really liking the way they harness the Bay Area, the Teutonic scene & the South American scene all at once on this July feature release. They certainly possess a really fantastic energy. The more intense & thrashier stuff is clearly Parkcrest's comfort zone & they seem to excel once they're drawing upon "Darkness Descends" & "Beneath The Remains" for influence. They've also spent a fair bit of time listening to classic Iron Maiden over the years though too as there are plenty of places where they throw in an unaccompanied Steve Harris style bass riff during a midtempo section or a melodic guitar lead that wouldn't have seemed out of place on a record like "Powerslave". The drumming isn't as polished as a Dave Lombardo but there's an undeniable urgency & electricity about the consistently high tempos & I think Nicolás Villanueva has done himself some big favours by examining Igor Cavalera's transitions on the classic Sepultura thrash records. The bass playing plays an important role here too with Sodom's Tom Angelripper being the source of inspiration I suspect. This is an absolute riff-fest though with the twin guitars jumping from one impressive riff to another in a never-ending stream. Javier Salgado & Diego Armijo can both certainly play fast but when they start to get a bit more technical or attempt some emotive lead work you can start to see their technical limitations starting to show.
I find "...And That Blue Will Turn To Red" to be top class in patches & these signs all point to Parkcrest's next record having the potential to be a really big one for them but I don't think they're quite there yet. They've crammed these tracks full of content & a lot of it is extremely strong but there are also less impressive inclusions tacked into every song as well so I feel that a little quality control would go a long way. The six minute closing title track didn't do very much for me either & has resulted in me dropping my score from a 4/5 which is disappointing given how strongly the record started over the first few tracks. It deserved a better climax than that in my opinion. Another thing that limited my scoring a touch were Salgado's vocals which are serviceable but don't really possess the charisma of the top tier thrash front men. He serves Parkcrest well during the more violent stuff but sounds a bit flat when he's barking over simple power chords during a couple of the choruses. So yeah... a promising release for the future with some untapped potential still yet to be drawn to the surface.
For fans of Ripper, "Darkness Descends"-era Dark Angel & late 80's Sepultura.
Genres: Thrash Metal
Format: Album
Year: 2019
I came to London's Pagan Altar relatively late in their career while putting together the Metal Academy podcast several years ago & immediately found them to be an interesting prospect. They were generally labelled as one the early exponents of the doom metal sound & I found their 1982 self-titled release to offer a fair bit of enjoyment even if there were a few flaws in their sound that I struggled with. They definitely weren't a pure doom outfit either as there was also a lot of traditional heavy metal in their sound as well as a touch of psychedelia. I later experimented with Pagan Altar's re-release of their early demos (entitled "The Time Lord" which was released in 2004) & found it's combination of doom metal & 70's hard/psychedelic rock to be just as entertaining. In fact, at that point I started to label Pagan Altar as the first true exponent of the traditional doom metal sound given that those recordings dated way back to 1978/79. And this brings us to "Mythical & Magical" (Pagan Altar's third full-length album released in 2006) which is a record that seems to receive universal praise from somewhat of a cult following within the underground metal scene & I was very keen to find out why.
The first thing I noticed about "Mythical & Magical" is the raw production which doesn't sound anything like the clinical modern-day metal production jobs we're so used to hearing these days. This one is thinner, dirtier & sounds very much like it could have surfaced from the early 80's NWOBHM scene which I would guess was something the band were likely aiming for. Much like Pagan Altar's earlier material, "Mythical & Magical" offers an interesting mix of styles & influences although it's well worth noting that there's very little doom metal on offer here. This time the band have opted for a sound that seems to draw upon the hard rock-driven NWOBHM sound of early Iron Maiden & Judas Priest, the more epic US power metal of Cirith Ungol & Manilla Road & the more organic & bluesy American hard rock of the 1970's with dashes of progressive rock, folk & even country tossed in for good measure. The high-pitched vocals of Terry Jones are instantly recognizable & are still just as repetitive as they ever were so if you've struggled with him previously then you shouldn't expect much respite here while the emotive & creative lead guitar work of his son Alan is as impressive as I remember it being & is the obvious highlight of the album with most of the tracklisting's peaks appearing at the crescendos of his lengthy solos. Things do get a bit cheesy at times, particularly during the guitar harmonies & the more epic sounding sections. I actually find the more expansive & progressive tracks to be the most consistently interesting (see "The Sorcerer" & "The Erl King") with the simpler hard rock numbers sounding pretty tame & boring in comparison. When Pagan Altar focus purely on a heavy metal sound they're generally very successful, particularly on opener "Samhein" which utilizes a dark Sabbath/Dio/Maiden gallop (there are several across the tracklisting actually) & builds in intensity gradually over time. I could definitely do without the country rock number "The Crowman" as it sounds like it's been torn straight off US country radio while the short & fairly lightweight folk instrumental "Sharnie" doesn't add much to the album either in all honesty.
In the end I found "Mythical & Magical" to be a bit of a mixed bag with the tracklisting struggling for consistency. In fact, I'd suggest that I really only got enjoyment out of half the album. Thankfully the stronger material is classy enough to carry the dull moments which has resulted in the experience feeling fairly positive overall. I still can't say that I see what the big deal is with Pagan Altar though as this is once again a release that I've enjoyed while I listened to it but are unlikely to return to very often in the future. In terms of the band's discography, I'd suggest that this is probably the least appealing of the three Pagan Altar releases I've checked out to date & I suspect that's got a fair bit to do with the lack of doom metal on offer but there's not all that much between the three really. "Mythical & Magical" is a nostalgic ride through a period in rock/metal history that I was too young to fully take in & it serves that purpose quite well but I can't say that I see it as being in any way essential.
For fans of Cirith Ungol, Manilla Road & early Cauchemar.
Genres: Heavy Metal
Format: Album
Year: 2006
Former Cannibal Corpse frontman Chris Barnes seems to cop an awful lot of flack on social media & not without due cause either because the dude is clearly an ignorant, immature, uneducated dickhead. There's really no question about that. But do his band Six Feet Under really deserve to be labelled as one of the worst death metal bands of all time? Hhhmmmm.... if you trust the general consensus on some of his more recent releases then you would have to think so, wouldn't you? Well after seeing him inexplicably posting a very embarrassing & concerning selfie of him holding a gun on Facebook this week I decided to see if the band's poor reputation was warranted or not so I reached for Six Feet Under's most universally ridiculed release in 2016's "Graveyard Classics IV: The Number of the Priest" (a collection of eleven Judas Priest & Iron Maiden cover versions) to see what all the fuss was about.
The first thing you'll notice with this record is that there's been very little attempt to vary the instrumental approach from the originals. The session musicians Chris has recruited for the project are all more than competent (particularly the shredding lead guitarist) & in truth they pull off some pretty decent replications of these heavy metal classics but I have to question what the point of it all is if you're not going to give it your own slant. The production job is somewhat confusing too in that it seems to consciously steer the guitars to the back of the mix which makes the whole thing sound a lot like a karaoke version of these tracks. The rhythm section generally tend to dominate the guitars which is hardly what these great metal tunes are all about but I suspect the reason for this is to ensure that Chris' monotonous death growls are highlighted as the focal point at all times. That's a real shame because Chris' vocals don't suit the vast majority of these tracks in any way, shape or form. In fact, he really does manage to butcher tracks like "Invader", "Never Satisfied", "Flash Of The Blade" & "The Evil That Men Do" where the higher register vocal melodies were a major drawcard for the originals. He's a lot more successful on the more rocking tracks (the Paul Dianno-fronted Maiden tracks for example) but I'd suggest that only Judas Priest's "Genocide" reaches any sort of consistent level of enjoyment. Chris sounds completely disinterested a lot of the time to be honest, kinda like he's phoned this recording in simply to fulfill a label obligation & it's this reason that the album is so universally panned.
In saying all that though, I can't help but get some form of enjoyment out of the instrumental aspects of the album as I've grown up with these songs from such a young age. I even have to admit that I quite enjoy the version of "Genocide" I mentioned earlier & find it to be a pretty decent example of the death 'n' roll subgenre. Unfortunately though, it's impossible to deny the big elephant in the room & his filthy dreadlocks. I can't say that this record is anything like the 0.5/5 that almost all critics seem to tag it with because there are way worse bands out there that can't even play their instruments. I did have to have a good hard think about whether I could justify the score I've gone with though as this is a completely redundant & unnecessary release if I've ever heard one.
Genres: Death Metal
Format: Album
Year: 2016
Acid King / The Mystick Krewe of Clearlight - Free... / The Father, the Son and the Holy Smoke (2001)
This one is a split collaboration album from female-fronted San Francisco stoner/doom outfit Acid King (featuring French drummer Guy Pinhas who has also been involved with Fireball Ministry, Goatsnake & The Obsessed) & New Orleans psychedelic Southern rock/metal project The Mystick Krewe of Clearlight (featuring guitarist Jimmy Bower who has played with just about everyone including Corrosion of Conformity, Crowbar, Down, Eyehategod & Superjoint Ritual). The two bands sound completely different so the tracklisting doesn't exactly flow from one to the next. I fucking loved the Acid King material which can also be found as an isolated E.P. that was released in 2014. Their sound is super-dense & heavy as fuck with Lori S's vocals sounding very much like Hole front woman Courtney Love at times. When they get their doom on Acid King seriously crush & I'd highly recommend them to fans of Electric Wizard & Sleep. The two tracks from The Mystick Krewe of Clearlight are a very different proposition with "Buzzard Hill (My Backyard)" being a genuine Southern Metal groove-fest & the epic eleven minute closer "Veiled" starting off in Southern/stoner metal territory before veering off into a spectacular drawn-out psychedelic rock excursion of the highest calibre for the last seven minutes which was the highlight of the whole release for me personally. I can't say that The Mystick Krewe of Clearlight's groovy Southern/Stoner Metal stylings do much for me but when they decide to strip things back & get all trippy on me I find myself in a musical Heaven that I rarely encounter.
Overall, I'd suggest that labelling this split release as Southern Metal is disingenuous as there's really only one & a half tracks that fall into that category. It's more accurate to tag it with the overarching Stoner Metal banner with Doom Metal & Southern Metal secondaries in my opinion. I really enjoyed this record though. It's been one of the finds of the month for me, mainly for the Acid King stuff which is some of the best Stoner/Doom I've ever encountered to be honest. I'm gonna go with 4.5/5 for Acid King & 3.5/5 for The Mystick Krewe of Clearlight.
Genres: Stoner Metal
Format:
Year: 2001
I remember giving this sole 2011 album from short-lived New York death metallers Flourishing a couple of spins back at the time of release & found it to be quite enjoyable however it didn’t quite captivate me enough to see me returning to it since so the prospect of a return visit to month’s The Horde feature releases was something I welcomed in order to see whether my affections had grown over time. The dissonant death metal crowd is chock full of Gorguts clones that may attempt all sorts of adventurous melodic & harmonic experimentation but rarely manage to identify themselves from the crowd. Flourishing on the other hand offer something a little left of field by incorporating a number of unusual influences which gives them a refreshing differentiator. There’s no question that the basis for their sound has been developed using the building blocks that Gorguts & Ulcerate have popularized however the band regularly stray into uncharted territories that are more reminiscent of an abrasive Godflesh sludge-fest, Sonic Youth’s super-cool take on noise rock or the post-hardcore adventures of bands like At The Drive-In or Fugazi.
Front man Garrett Bussanick possesses a raspy & tortured howl that’s pretty similar to Asphyx’s Martin van Drunen & he does an admirable job at keeping things deathly no matter how far the instrumentation drifts outside of that space too. Garrett’s dissonant guitar work regularly employs the use of natural harmonics to great effect, a tool that immediately sees my ears pricking up due to the similarities to Godflesh mastermind Justin Broadrick’s innovative take on the technique. The heavily down-tuned & distorted bass guitar tone of Eric Rizk also has Godlfesh written all over it & I have to say that I really dig it. Unfortunately drummer Brian Corcoran isn’t quite up to the requirements here which ultimately sees Flourishing leaving a portion of their potential on the table. If you threw a tier one extreme metal drummer into the mix then I feel that “The Sum Of All Fossils” had the potential to be much stronger but Corcoran sounds like his technique & creativity were capping out here which is a real shame. The murky production hasn’t done him any favours but it admittedly works really well for the other two musicians.
At the end of the day I can’t deny that I’m really intrigued by the eccentricities “The Sum Of All Fossils” contains however it doesn’t quite manage to hit my sweet spot consistently enough to warrant my higher scores which has no doubt been contributed to by my struggles with Corcoran. Flourishing’s more dissonant & deathly material is generally at a slightly lower standard to their more expansive excursions through alternate genres but it’s nonetheless a very consistent record that offers plenty to analyse & dissect.
For fans of Aeviterne, Pyrrhon & Gigan.
Genres: Death Metal
Format: Album
Year: 2011
I have to admit that this release was an interesting choice for a feature release for The Gateway as there's really only two of the seventeen tracks that I consider to fall under the subgenres included under The Gateway. In fact, I'm not even sure that this release qualifies for metal status at all given that only there's only three tracks that are obviously metal & one that's kinda borderline. Of the tracks that I do consider to be metal, one is traditional heavy metal ("Lullaby of a Dead Man"), one is alternative metal ("Beauty of Annihilation") & one is melodic metalcore ("115"). "The One" is more of an alternative rock track that pushes out into alternative metal territory as it builds through the latter half. Other than that we have the usual mixed bag that is the modern video game soundtrack with the rest of the tracklisting covering disparate subgenres like ambient, electronica, chiptune, techno, psytrance & progressive rock. In truth there's a lot more electronic music here than there is rock/metal so I'm inclined to suggest that this shouldn't be regarded as a metal release. The quality also travels the full spectrum from amazingly atmospheric (see gorgeous ambient piece "Voice In Your Head" & closing instrumental prog rock guitar shredder "Undone" for example) to disposable rubbish (see dire chiptune inclusions "Zombies Don't Surf" & "Temple").
Overall I'd suggest that I get enjoyment out of about half of the tracklisting but the other material is simply too far from my comfort zone to allow me a positive overall experience. The female vocals are pretty cheesy but do come up with some nice melodies & I do quite dig some of the less bleepy/quirky electronic stuff but I often find that these video game soundtracks sound very artificial & generic, particularly in their use of dime-a-dozen software synths that come across as lacking in sophistication. The ambient pieces are where this release is most consistent & I do enjoy four of the five rock/metal tunes so this isn't a horrible experience by any stretch but I can't say that it ever really threatened to have me returning for repeat visits in the future.
For fans of metal-related video game soundtrack artists like Mick Gordon, Heaven Pierce Her & Machinae Supremacy.
Genres: Alternative Metal
Format: Album
Year: 2011
Ben & I have been well acquainted with Austrian black metal establishment Abigor since the very beginning of their existence back in the mid-1990’s with releases such as “Orkblut - The Retaliation” & “Nachthymnen (From the Twilight Kingdom)” playing a very major role in our teenage household. Abigor were everything we wanted black metal to be at the time. They were dark, brutal, mysterious & totally underground. It was just the recipe for any aspiring young black metal elitist. Unfortunately though, I’ve found them to be a little hit & miss over the years with records like 2010’s “Time Is the Sulphur in the Veins of the Saint - An Excursion on Satan's Fragmenting Principle” doing very little for me however the news of a resurgence has peaked my interest so I’ve headed into Abigor’s thirteenth full-length with a significant amount of hope.
The album starts off well with a couple of the early tracks offering both strength & depth. I particularly enjoy the urgency & aggression of opener “Gomorrah Rising - Nightside Rebellion” which is probably my album highlight. The avant-garde direction Abigor had taken on their releases from the early 2010’s seems to have been pushed to the wayside in favour of a return to the band’s roots. The drumming is very fast & highly proficient while the dual guitar work is as complex as ever but I wouldn’t say it reaches for the dissonance of Deathspell Omega as often as some reviewers have claimed. There’s simply a lot going on simultaneously & the production job is full of high end which leaves everything fighting with each other a bit & the vocals & solos aren’t really highlighted as much as you would usually expect. It's not all that different from Emperor's overthetop wall-of-sound production approach to be honest but it can be a little exhausting given the lack of dynamics & does tend to leave everything sounding a little samey after a while.. Personally I would have liked T.T.’s drums to be a little further forward in the mix in order to better showcase his precision brutality as he’s got some impressive blast beat chops & is capable of some pretty interesting cymbal work too.
There are a few weird moments that don’t quite work scattered across the tracklisting & they sometimes see the song structures threatening to fall over a bit. I’m not too much of a fan of the chanty vocal stuff on a track like “Tartaros Tides” which is the clear weak spot on the album in my opinion too. Silenius’ vocal delivery can be a bit hit & miss as he tries his level best to match Mayhem legend Attila Csihar for general insanity but there’s a decent amount of quality about what Abigor do here overall. They’ve clearly got more technical ability than the majority of the competition & showcase a deep-seated black metal pedigree in every move they make. The use of symphonic elements is professionally composed & executed with an obvious reference to classic Emperor but never seems to overstep the cheese line while the band aren’t afraid to step outside of their dedicated genre for a quick look at more progressive territories on occasion either. Is this the return to form that people are promising? Well, in a word no it’s not but I don’t doubt that it’s probably the band’s best effort in twenty-five years nonetheless.
For fans of Emperor, Lunar Aurora & early Dødheimsgard.
Genres: Black Metal
Format: Album
Year: 2020
I can vividly remember my first encounter with Japanese blackened thrash legends Sabbat’s fifth & most ambitious album to the time. I’d been aware of Sabbat through the tape trading scene for some time but can’t say that I’d ever really bought into their largely cult following. They’d created a real buzz around the underground due to their undoubted First Wave of Black Metal street credibility however I can’t say that I was ever comfortable that their package could justify comparisons with the elite exponents of extreme metal at a time when that scene was at its peak. By 1996 though that scene was starting to descend from its position of prominence & perhaps that’s why Sabbat felt the need to throw the rule book out the window & produce something truly remarkable with a single hour-long piece that contains so many disparate ideas that you may find your head spinning after a while.
Sometimes music can be just a bit of simple fun that you don’t have to put too much investment in to & at others it can be a genuinely fascinating piece of art whose aim is to change a person & not just in positive ways. It can attempt to get inside your head & mess with the connections, taking you to weird & wonderful places you never imagined, some of them so foreign & surreal that you feel a level of discomfort. Well, “The Dwelling” certainly falls into the latter category as it’s never happy to sit on its laurels & wants to be everything at once, even though that approach definitely comes at a cost. You see, love it or hate it, to describe this record as blackened thrash is doing it a disservice in my opinion. There’s no question that it’s driven by a strong First Wave of Black Metal pedigree but it’s also incredibly expansive & ambitious, far more than Sabbat were capable of at the time in all honesty. Personally, I hear very little genuine thrash metal here with the majority of the thrashier parts sitting more comfortably under the early black metal banner than the thrash one. There’s definitely a classic heavy metal influence to this record that sees it veering much closer to speed metal with a number of parts reminding me of the blackened version of speed metal we heard on the first Bathory record with a punkier Motorhead/Venom feel to quite a few of the faster riffs & much less of the rhythmic precision & complexity we’ve come to expect from thrash. Then you have the extended lead guitar excursions & the just plain outrageously weird progressive rock experimentation which have been pulled straight out of a 70’s prog rock playbook & these are significant enough to command the progressive metal tag in my opinion. Those long guitar solo sections absolutely reek of Mercyful Fate worship only Sabbat are nowhere near as capable at their craft so they end of coming off as very loose & a little amateurish too at times.
The vocal delivery takes a number of directions. I really enjoy the Quorthon-esque black metal approach that sees the words spat out with evil intent. I can’t say that the high-pitched attempts at King Diamond worship get anywhere the mark they’re aiming for though & they end up becoming pretty annoying. The bass guitar work has some very interesting moments when it decides to run off on its own & tell a different story to the other two band members. Unfortunately though, I find a lot of “The Dwelling” to sound too raw & loose in its execution. That may be fine for your average underground extreme metal release but this one is trying for something far more sophisticated & the band simply aren’t anywhere near capable of pulling it all together. It sounds completely improvised a lot of the time but then you’ll see them go into some extravagant changes as a unit & you realise that it can’t be, at least not entirely. There are timing issues across the board, perhaps not major ones but enough to keep me wondering if they’re about to completely drop the ball & have to start again.
For all its failings, “The Dwelling” is a really interesting release. It’s just not all that enjoyable for me personally as I struggle with many of its quirks. It sounds like a few dudes got really drunk, took a mushroom each, pressed record & jammed away for an hour to see what came of it. I admit that idea does sound kinda cool in theory but the reality sees me failing to connect with a lot of it & wanting more professionalism in the execution. Now if anyone goes into a Sabbat record wanting professionalism then they’re clearly barking up the wrong tree which is why I’ve always found myself at odds with “The Dwelling” because I clearly want it to be something that was never going to be. I suspect that some of our other regulars may not fall into that same trap though which is why I picked it for this month’s feature release as I look forward to hearing some different views on this intriguing & unique example of progressive black/speed metal.
For fans of Nifelheim, Abigail & early Bathory.
Genres: Black Metal Thrash Metal
Format: Album
Year: 1996
It was my younger brother Ben that first introduced me to New Jersey funeral/death doom metallers Evoken upon my return to metal back in 2009. He could certainly be classed as somewhat of an expert in the darkest & most extreme of the doom metal subgenres & he also knows my taste pretty well so it was no surprise that I found myself totally digging what I was hearing. You see Evoken don't really try to reinvent the wheel with their sophomore album "Quietus". They more or less harness the techniques of their early-90's heroes but do it exceptionally well. In fact, I'd be tempted to place this album right alongside most of them for overall impact & reward.
Evoken have made a name for themselves as being a band that sit very close to the mid-point between the slower & more mournful funeral doom metal of Esoteric & Mournful Congregation & the atmospheric doom/death of diSEMBOWELMENT & My Dying Bride with their extremely consistent back catalogue making them arguably the finest exponents of that sound. If I'm being honest though I have to admit that I've always found "Quietus" to sit far closer to the latter side of that equation, so much so that I've gone ahead & down-voted Funeral Doom Metal on its release page as it really is more of a secondary subgenre here in my opinion. Sure, there are some really slow & mournful sections scattered across its 63 minute run time however there are significantly more parts that draw upon the greats of the death/doom sound for inspiration if you pay close attention. I think it's the dark diSEMBOWELMENT style vocals that tend to fool people into thinking they're listening to funeral doom when a lot of the instrumentation could certainly have come from the Peaceville Three, particularly the drumming which owes a great deal of debt to My Dying Bride. There's a noticeably gothic feel to some of this material that inevitably takes my mind right back to that band's first couple of albums too, not to mention some obvious moments of plagiarism.
The guitar tone isn't perfect however it gets the job done with chuggy, slow & mid-paced riffs of pure doom. The vocals certainly enhance the atmosphere & are generally very well executed however it's the wonderful use of synthesizers that is the real drawcard here for mine, particularly on the lengthier & more epic tracks like "Where Ghosts Fall Silent" & album highlight "Embrace the Emptiness" which is arguably one of the greatest examples of death/doom you'll find. The atmosphere these tracks create is quite wonderful &, even though none of the other pieces are quite able to reach that elite level of quality, there's a strong consistency that flows right through the tracklisting & sees me finding it almost impossible not to dish out a premium rating. You see, Evoken just get it. They know how to create extreme doom metal with a genuinely thick & sorrowful atmosphere & even the tracks that start to drift a bit (see the faster, chuggier sections at the start & end of "Tending the Dire Hatred" for example) are easily recovered once they steer the ship back to troubled waters. If you're a fan of high quality death/doom with a funeral doom edge to it then you owe it to explore "Quietus".
For fans of Ataraxie, diSEMBOWELMENT & My Dying Bride.
Genres: Doom Metal
Format: Album
Year: 2001
The Swedish post-sludge masters' third album is a masterpiece of light & shade with the instrumentation presented in waves of slow-building tension & release. Front man Klas Rydberg's relentless screams are definitely the band's weak point as he's very much a one-trick pony but I simply can't help but give in to the mastery of the musicians around him who all execute their contributions with undeniable class & efficiency. The more subdued moments are the highlights in my opinion (my favourite being gorgeous post-rocker "Crossing Over") & you'll struggle with a release like this one if you're lacking in the patience department as it requires time & attention to reveal it's many qualities. But if you're willing to go along for the ride then you'll find Cult of Luna to have a rare talent for sneaking up on you, utilizing repetition & subtle changes over long periods to create atmosphere before reaching some truly invigorating crescendos. "Salvation" may not be Cult of Luna's finest work but it certainly compares very favorably to wonderful albums like "Somewhere Along The Highway" or "Vertikal". I also regard it as a pretty definitive example of the Post-Metal/Sludge Metal combo with the two elements playing equally important roles in the final product. It's a wonderful release from a band that I have an enormous amount of time for.
For fans of Isis, Neurosis & The Ocean.
Genres: Sludge Metal Post-Metal
Format: Album
Year: 2004
Despite being aware of their existence for many years now, I hadn’t ever seriously considered checking out anything from Canada’s Blood Ceremony before now but became intrigued after noticing an old Hall of Judgement post & followed up with a read of Sonny’s review which certainly sounded interesting. I decided I’d check out the band’s self-titled debut to see what it was all about I’ve come away feeling like I’ve experienced something that’s primarily centered in the past but somehow seems to sound fresh & invigorating at the same time.
Blood Ceremony’s sound can be difficult to describe using your traditional genre tags as there’s a whole bunch of components being used to make up the final product. Firstly you have the heavy doom metal riffs of Black Sabbath’s self-titled debut album only they're played with more of a hard rock tone which keeps the band in stoner rock territory despite the undeniable atmosphere of pure doom at times. Then you have the use of 60’s psychedelia, particularly in the use of organ which reminds me very much of The Doors at times. The incorporation of flute as a primary instrument was unexpected with the influence Jethro Tull, Black Widow & other 70’s flute-friendly progressive rock bands being easily apparent there. There’s even a little bit of folk thrown into the mix every now & then & when you top it all off with a female front woman & a seriously retro production job that could well have come from the early 70’s you’ve got yourself one very interesting mix of sounds.
So how did I enjoy it overall? Weeellll… “Blood Ceremony” certainly has its moments & rarely sees me losing focus despite there being a noticeable lapse in the middle of the tracklisting (see “A Wine Of Wizardry” & “Rare Lord”). I really enjoy the authentic feel & doomy atmosphere however I rarely see myself fully giving in to the band’s charms due to a couple of clear flaws. Front woman Alia O’Brien isn’t the most gifted of singers & can be a little pitchy at times however you kinda forgive her in the interest of atmosphere. Her contribution with the flute becomes greater as the album progresses & I have to admit that my patience wears a little thin after a while. I think they’ve overdone it a touch with the solos in the back end of the record. The lead guitar work is always welcome though & shows a great combination of feel & attitude. Album highlight “Return To Forever” is where the song-writing is clearly the strongest & everything just seems to completely gel at long last. A large portion of the remaining tracks seem pleasant enough but rarely push for higher honors.
At the end of the day I think “Blood Ceremony” serves its purpose pretty well for a very specific audience & offered a refreshing change from my usual listening habits. I would imagine that the late 60’s/early 70’s female-fronted doom rock trend that was growing in popularity at the time would have embraced it with open arms but I have to admit that I don’t find the song-writing to be strong enough to command return visits even though the riffs are certainly there in spades. I’d be interested to know if O’Brien’s vocals improve on subsequent releases though because she’s not bad as such. She just needs to work with some stronger material & reach a little deeper for the x-factor that can take a reasonably enjoyable release into much stronger areas.
For fans of Electric Citizen, Jex Thoth & Witchcraft.
Genres: Non-Metal
Format: Album
Year: 2008
I’ve been meaning to give high regarded Canadian death metallers Blood Incantation’s 2019 sophomore album “Hidden History Of The Human Race” a proper review ever since giving it a few casual spins shortly after release but somehow it’s taken me a full three years to get there which is more of an indication of how broad my musical passions are than anything else as there’s a very lengthy queue for my attention these days. You see, despite really enjoying the record upon first listen it very quickly became obvious that it requires “active listening” to take in all of the nuances, particularly given the dense & cavernous production job & tendency to drift into progressive self-indulgence & atmospherics at times. But here I am, fully prepared for what’s in front of me & open to emulating the extreme adoration of metalheads around the globe if the merit’s there.
It's interesting that so many people comment on how great the production job on “Hidden History Of The Human Race” is because it has it’s faults in my opinion. It does tend to sound pretty murky at times which really works for a band like Incantation but can limit the effectiveness of a more complex artist like Blood Incantation clearly aspire to be. You can certainly make out everything that’s going on but a little bit more clarity & definition in those guitars could have elevated things a bit in my opinion. The cover artwork is another source of adoration that I find interesting. It’s an attractive image of course but does it successfully highlight the dark death metal atmosphere Blood Incantation are capable of or does it really come off as being a little try-hard & portray the band as a bunch of nerdy conspiracy theorists? I tend to lean towards the latter in all honesty but let’s not let that get in the way of what is really a very solid death metal record.
The programming of the tracklisting is a topic that needs unpacking because I think the band’s management got it a little wrong by opening with the most traditional death metal number & gradually getting more progressive & expansive over the four tracks. Brutal opener “Slave Species Of The Gods” doesn’t really leave you with an accurate depiction of what to expect from the rest of the album & I think it would have been a better idea to place it after “Inner Paths (To Outer Space)” in the track 3 position with the eighteen minute prog death epic coming immediately after it. In its current configuration though we see the album opening without much deviation from the classic Morbid Angel death metal model with the dense production job giving it an atmosphere that reminds me of countrymen Tomb Mold. Second track “The Giza Power Plant” sees the riff structures immediately getting a little techier with the first signs of a more expansive approach taking the form of some Nile-influenced middle-Eastern melodies & themes. But the real gold here can be found when Blood Incantation release the shackles that are holding back their self-indulgences & go for a completely progressive approach with instrumental third track “Inner Paths (To Outer Space)” being the finest example of this in my opinion. The first half of that track sees the band opting for a more stripped back & melodic post-metal sound before taking off into fully fledged progressive metal similar to Cynic & finally returning to their death metal roots during the climax. To my ears the first half of this track is the perfect amalgamation of the band’s influences & ambitions but that’s not to discount the strength of the gargantuan eighteen-minute progressive death metal excursion that is closing number “Awakening From the Dream of Existence to the Multidimensional Nature of Our Reality (Mirror of the Soul)” mind you. This monster piece sees Blood Incantation working all of their various influences & components into the one composition that takes numerous exciting twists & turns through disparate locations like space ambient & doom/death without ever losing its natural flow. It can sound a little artsy (i.e. progressive for the sake of being progressive) at times but I think it offers enough musical substance to see it overcoming those aspersions & it ends up being the perfect way to end what was a relatively short album with a surprisingly large amount of ideas. It kinda reminds me of The Chasm’s more ambitious works in that respect.
So is “Hidden History Of The Human Race” the genuine progressive death metal classic it was made out to be at the time? Hhhhmmmm…. the short answer is no it’s not. The musicianship & execution is very good but I do think the vocals sound pretty generic. The sci-fi themes work well but I can’t say that I enjoyed the band’s progressive take on death metal as much as I do their major influences as I tend to think I’d be more likely to reach for Timeghoul’s 1994 “Panaramic Twilight” demo when I’m in the mood for this sort of thing. I just don’t think that Blood Incantation hit my death metal sweet spot as often as I’d need to be placing a record like this one on the very top shelf despite its obvious class & credentials. Still, this is a very high quality death metal release that oozes of underground credibility while simultaneously ticking more than its fair share of creative boxes so fans of the progressive death metal sound will undoubtedly find a lot to enjoy here.
For fans of Timeghoul, The Chasm & Tomb Mold.
Genres: Death Metal Progressive Metal
Format: Album
Year: 2019
Back in the day this record definitely would have received an instant 5 stars from me as it was simply that influential on me at a very young & impressionable age when I was just freshly converted to the wonders of death metal. These days I can see it through an unbiased lens & it's definitely not without it's faults but it was certainly a revelation at the time & the highlights are truly gargantuan. John Tardy's monstrous vocal performance is arguably the best in all of death metal in my opinion. He's certainly the most unique vocalist the scene has ever produced as there's no one that comes close to touching the sheer ferocity of his talent. The recruitment of hired gun shredder James Murphy was a master stroke too as his highly melodic & technically dazzling contribution really does take this record to another level from anything the band would have been able to produce previously. The trademark Obituary rearranged-5th chords have never sounded so good while the cover artwork is my personal favourite of all time & goes a long way to maximizing my passion. The weaknesses of the album are the faster sections where the rhythm section draw upon "Leprosy"-era Death for inspiration as those parts tend to sound a little tame in comparison to the ridiculously heavy & doomy slow sections which are Obituary's real forte if you ask me. It's often a matter of less is more with Obituary as their controlled restraint is possibly their biggest strength & that's not something you can say about too many extreme metal acts. The song structures sound pretty loose & pieced together at times but thankfully every track includes at least one or two monlithic riffs of pure death to draw you in & Obituary understood how to create that authentic graveyard atmosphere as well as any death metal band that's ever picked up an instrument.
Looking back it's not difficult to see why "Cause Of Death" not only set a new standard for the band but also took them to the top of the Florida tree with Morbid Angel. The album reeks of underground credibility but it also manages to stay accessible enough to draw in a sizeable fanbase. I can't say that I regard it as highly as I did when I was a kid but it's clearly Obituary's finest work & stands as a key piece of death metal's historical puzzle. Even the cover version of Celtic Frost's "Circle Of The Tyrants" is a strong inclusion & represents one of the rare occasions when I actually think the cover may eclipse the original. The huge influence of Frost on Obituary's signature sound certainly helped in that regard as it doesn't sound anywhere near as out of place as many extreme metal cover versions do. When I look back on my youth in years to come I doubt my brain will ever forget to attach a soundtrack that includes belters like "Infected" or "Memories Remain" to the images in my head & this last 24 hours has seen me relishing the chance to regain an awareness of a time that I regard as one of the best of my entire life, purely through the sounds that played such a huge role in it.
For fans of Autopsy, Jungle Rot & Asphyx.
Genres: Death Metal
Format: Album
Year: 1990
I was taking my sabbatical from metal when Exodus returned for their long-awaited & highly anticipated comeback album after twelve years in the musical wilderness but I made sure to check it out as soon as I returned five years later as by all accounts "Tempo Of the Damned" was somewhat of a minor classic & a definite return to form. I have to admit that the reality isn't quite as impressive as all that though & I think there's definitely a fair few people that got over-excited about the idea of Exodus returning to the studio in much the same way as they did about the lineup for Testament's "The Gathering" album. What we have here is a well produced & performed, meat-&-potatoes Exodus thrash metal record but it rarely leaves the impression of being particularly classic. In fact, there are a couple of tracks that I find to be pretty flat in the the revamp of the old Kirk Hammett-contributed number "Impaler" & the groove metal inspired "Shroud of Urine". That's not the only reference to groove metal either as it's not hard to pick up on the influence of Pantera in their idols' sound at several points across the tracklisting but my preference is definitely towards the thrashier material, particularly the mid-paced moshpit style stuff that the band grew up cutting their teeth on (see album highlight "Sealed With a Fist" for example). That classic Exodus guitar tone is certainly still going strong & it gives the riffs the sort of definition that only the Holt/Hunolt combination knows how. Their guitar solos are right on the money too & inevitably represent the high point of the more filler-oriented material. Steve Souza's vocals are positively gnarly at times & I really love it when he gets his attitude on. Unfortunately his screamier moments are pretty weak & unappealing though & I'd recommend that he sticks to what he does best in future rather than pushing himself so far outside of his limited comfort zone.
While "Tempo Of The Damned" is certainly gonna offer a fair bit of appeal for diehard thrash metal fans who crave the glory days of the mid-1980's & also possesses a little something for the early 90's groove metal crowd too, I just don't think it's on the same level as a record like 1987's very solid Pleasures Of The Flesh", let alone genuine classics like "Bonded By Blood" or "Fabulous Disaster". It's a well-executed if inessential thrash record that will keep their existing fanbase salivating but is unlikely to convert an entirely new supporters.
For fans of Overkill, Testament & Metallica.
Genres: Thrash Metal
Format: Album
Year: 2004
I remember being very surprised when I first discovered that Melbourne psychedelic rock legends King Gizzard & the Lizard Wizard had somehow made it onto the radars of extreme metal fans all around the world. I’d never really committed to investigating them for myself but I'd always intended to & it was very hard to ignore the impact they’d made on my local Aussie rock scene in a relatively short period of time. Boy, had they made every effort to cash in on their fame too. I mean any band that manages to release a full fourteen full-length albums in just seven years in the modern day is running well against the curve these days, aren’t they? And that’s just what the Gizzard had managed to achieve going into this record which would see them breaking the two records per year barrier. They’d been very much the local buzz band for a good five years by this point with critics & fans alike gushing over their druggy, retro vibe ever since 2014’s “I’m In Your Mind Fuzz” album but I have to admit that I’d never heard them referred to as being a metal band before so I was intrigued by 2019’s “Infest The Rats’ Nest” & wasted little time in giving it the once over.
Now let’s put it out there straight off the bat that the general tendency to tag “Infest The Rats’ nest” as a thrash metal record isn’t exactly accurate. Sure, there are a fair few fast tracks that definitely include more than the odd thrash riff but this simply doesn’t feel like a thrash record in any way, shape or form thanks to the fuzzy, 1970’s style production job. It’s not slicing & abrasive like thrash should be & doesn’t sound half as metal as a “Bonded By Blood” or a “Pleasure To Kill” which is why my inclusion of the opening track “Planet B” on a monthly playlist for The Pit never quite seemed to sit too well with me. Instead we get a record that feels much more like a stoner metal release, kinda like the thrashier High On Fire material in many ways. There is one monster stoner doom epic included here that reminds me a lot of bluesy early Black Sabbath meets stoner monsters Sleep too & it may well be my favourite track on the album. The more up-tempo numbers like “Organ Farmer” leave me with more of a Ministry vibe in that the thrashy riffs are pretty simple & rhythmic but are invariably effective.
The use of short & highly psychedelic guitar solos is most welcome & always maintains the link to the Gizzard’s retro roots too. I love the way that front man Stu Mackenzie never allows them to overstay their welcome & this conscious restraint definitely helps to accentuate the song-writing which is a real strength for the band. Stu’s voice is as powerful as it is gruff & the tight doubling of his voice in the production phase was nothing short of a master stroke. One criticism I do have though is that “Infest the Rats’ Nest” is a very top heavy record with the opening four tracks being the clear highlights of the nine track set, despite there being no signs of anything subpar included. I can’t help but think that it might have been a better option to finish with the epic doom of “Superbug” in order to crush the listener into a pulp on the way out & leave a greater impression but I guess it wasn’t to be.
Ultimately it’s pretty hard to be critical of an album like “Infest the Rats’ Nest” that has so much soul for a release that’s widely (& incorrectly) touted as extreme metal. The contrast of 70’s warmth with the incisive urgency of the 80’s is unusual & at the very least interesting. I can’t say that I was ever completely sold on the concept though. Perhaps my thrash metal roots are just a little too stuck in their ways & for that reason I teetered on the edge between a respectable 3.5/5 score & a very solid 4/5 for some time before allowing myself to commit to the more impressive option, a call that was largely contributed to by my admiration for the sheer class that King Gizzard & the Lizard Wizard ooze of from every pore on this release. I don't think I'll be alone in going that direction though & I'm not surprised that metalheads from around the globe have found "Infest the Rats' Nest" to be such an addictive record given just how accessible it is for heavy music fans from such different backgrounds & scenes.
For fans of High On Fire, Sleep & Uncle Acid & the Deadbeats.
Genres: Stoner Metal Thrash Metal
Format: Album
Year: 2019
*Stands up in front of his peers*
Daniel: “Hi everyone. My name is Daniel & I’m a kvlt elitist.”
*insert round of applause from his sympathetic peers*
Sometimes in life you just have to admit that you don’t know everything. You may have thought you did at one point but then the gift of hindsight comes back to emphatically show you that what you thought you categorically knew previously was misguided & delusional & that’s kinda how I feel about French blackgaze originators Alcest these days. You see, when I finally returned to the metal scene in 2009 after a decade of electronic music indulgence I felt that I had a lot of catching up to do so I threw myself head-first into every extreme metal-related release of significance from the years of my defection. Unfortunately though, my mind was still firmly playing by the rules of my late 80’s/mid 90’s hey day as I simply wasn’t open to some of the new & more adventurous sounds I was hearing. In my mind black metal needed to be insanely dark, relentlessly brutal & inherently Satanic so when I first heard Alcest’s take on the genre I headed straight over to one end of the polarization line & stood my ground militantly. I kidded myself that I was open-minded & that these new sounds simply didn't offer much of substance. Hell, I even dragged Ben along to see Alcest perform live on their 2011 tour in support of the re-recorded version of their "Le Secret" E.P. but still came away saying that they were boring & uninteresting with my arms folded & my best Quorthon impression etched on my face. Fast forward to 2022 & I can certainly still understand my prior position as I still prefer my black metal to be of the variety I’ve just described but I’ve also grown as a person with time, age & experience gifting me with a greater appreciation for a more diverse array of musical styles & the improved ability to be a able to judge a release on its own merits rather than what I’d like it to be. As a result, I’m coming into Alcest’s debut album with a completely new set of ears & it’s warmly rewarded me for it.
Unlike Alcest’s ground-breaking debut E.P. “Le Secret” which saw the blackgaze subgenre being thrust upon the world for the very first time, “Souvenirs d'un autre monde” is often claimed to be a more traditional shoegaze release with the post-metal tag also being used to describe it. I can see why people may want to go in that direction as these six tracks are completely devoid of shrieking black metal screams, instead seeing band leader Neige opting for a sweet, melodic, whispy, unintimidating & child-like clean approach that is very much in line with what you’d expect to hear on your average dream pop release. A couple of the tracks are more aligned with shoegaze from an instrumental perspective too with their jangly wall of guitar sound being performed at a more restrained tempo that summons rock a lot more than it does metal (see the title track & “Ciel errant”). Closer “Tir Nan Og” is the clear anomaly in the tracklisting as it steers well clear of rock or metal altogether & sounds more like Celtic new age music than anything else but the remainder of the album sees me being tempted to make the link to black metal strongly enough to result in me reluctantly placing “Souvenirs d'un autre monde” into the black metal bin alongside the Mayhems, Bathorys & Emperors. You see, although tracks like “Printemps émeraude”, “Les iris” & “Sur l'autre rive je t'attendrai” clearly draw inspiration from conventional shoegaze, the often tremolo-picked melodic guitar riffs simply feel far too closely aligned with the black metal atmosphere to deny. The use of fast, pseudo-blast beats on a couple of the tracks only strengthens that association & at the end of the album I can't help but feel that I’ve witnessed something that falls far too close to black metal for me to continue to deny it of its passage into the Metal Academy clan system. Where the association with post-metal comes from is more of a mystery though as, despite the use of the occasional atmospheric acoustic section, “Souvenirs d'un autre monde” is still very much a riff-based release & doesn’t rely on textured, slow-building & climactic post-rock structures.
Once I’d come to the surprising realisation that this album may actually have some link & resemblance to the extreme metal sounds I held so dear, the next step in my recovery from black metal elitism was to allow Alcest the opportunity to impress me as a piece of art & I’ll be damned if “Souvenirs d'un autre monde” isn’t a mighty fine record in its own right when you finally give it a chance after leaving your expectations at the door. The production job is bright & glistening, the cover art captures the atmosphere of the child-like innocence contained within wonderfully & the warm feeling of comfort the songs leave you with is endearing & self-reflective. None of that is anything I strive to achieve when streaming your average black metal release to my car stereo mind you but after finally giving in to Alcest’s world I have to ask myself why it has to be? Sure, I don’t regard any of these six tracks as raging metal classics that’ll stay with me in my Hall of Metal Glory for all eternity but to deny that I enjoy them any longer would not be representative of the place where my more expansive modern taste palate has transitioned to over time.
I have Xephyr’s The Infinite feature release submission of Alcest’s excellent 2016 fifth album “Kodama” from quite a few months ago now to thank for encouraging me to finally return back to the band’s earlier work which I’d previously dismissed. Perhaps I don’t enjoy “Souvenirs d'un autre monde” quite as much as I do that release which I feel falls outside of the scope of the metal spectrum altogether but there’s not all that much between the two & its opened the door for me to re-evaluate the rest of Alcest’s back catalogue with new ears too now. Can I see why “Souvenirs d'un autre monde” is the band’s most highly celebrated release? Yeah definitely. It’s got an accessibility that gives it a very broad range of appeal across a wide cross-section of music lovers. Is that a negative? It might frustrate a teenage me to hear me say it these days but the answer is not in the slightest.
For fans of Jesu, Lantlôs & Sun Devoured Earth.
Genres: Non-Metal
Format: Album
Year: 2007
Don't ask me why but despite being a hhhuuugggeee fan of the records either side of it for many years now I'd never gotten around to checking out the highly celebrated 2006 third album "Blood Mountain" from Atlanta-based progressive sludge masters Mastodon until yesterday. Mastodon have always been a class act so I didn't expect anything other than a polished & accomplished piece of art & there's no question that that's exactly what they've delivered here too. This album appears to be the point in which the band took a turn away from their sludge metal roots & pointed their ship directly towards the progressive metal stratosphere as it's a lot more technical & complex than I remember their earlier material being & I don't think it technically qualifies for sludge status any more either as that's only a small portion of the holistic direction that "Blood Mountain" sees the band taking with stoner elements popping up almost as often. The album offers the usual highlights from drummer Brann Dailor who was a complete phenomenon at this point while it also falls victim to Mastodon's obvious Achilles heal in the vocal department which places a cap on the album's potential to reach the upper eschalons of my affection. In order to make a genuinely classic record you need to be able to write classic hooks &, for all it's splendour in the instrumental department, I'm just not sure "Blood Mountain" offers enough catchiness & memorability to be able to stand toe-to-toe with amazing records like "Leviathan" & "Crack The Skye" in that department. Brent & Troy do their best with the tools at their disposal however neither have the vocal chops to make this consistently solid outing into a truly special one. Still... there are few that can match Mastodon for ambition & execution in the instrumental department & the effortlessness with which they perform complex melodic acrobatics is beyond criticism. You can't really go wrong here if you're a fan of professionally produced & performed progressive metal music.
For fans of Baroness, Dvne & Intronaut.
Genres: Progressive Metal Sludge Metal
Format: Album
Year: 2006
As most diehard extreme metal fans will know, there’s a rare & highly desirable brand of metal that is destined to forever bubble away beneath the service of the underground scene, leaving its blackened mark on only a chosen few who share knowing nods in dark, smoky dungeons of metal worship without ever daring to give up their unholy secret to those deemed to be unworthy. This particular brand of metal isn’t about glossy production jobs, technical prowess or pushing genres into previously untraversed territories. It’s about presenting extreme metal in it’s most evil & primal form & generally resides within the confines of the unholy trio of extreme metal subgenres i.e. thrash metal, death & black metal. The exact ratio of an artist’s composition isn’t important but it dare not step outside of those three. Additionally, there needs to be an element of mystery about the artist in question with much left to the listener’s imagination. It also helps a lot if these artists have never released an album but existed for just a relatively short time, releasing only a few crude demos, 7 inches or limited edition EPs so that the audience can always be left wondering what could have been & if the most pure realization of metal should stay in the underground forever. Sadistic Intent is one of these acts & I love them all the more for it.
I first discovered this underground Los Angeles death metal outfit back in the early 1990’s through the tape trading scene. From memory I found their 1990 “Impending Doom…” E.P. to be pretty interesting but it wouldn’t be until their 1994 “Resurrection” E.P. that they’d really get me raising an eyebrow or two with their talent for creating raw, dark & authentic old school death metal falling right in line with my musical preference at the time. I followed them onwards in the hope that I’d eventually see a full-length album being released at some stage. I’m glad I didn’t hold my breath because that’s still yet to eventuate but they did manage to release another excellent E.P. before drifting out of my sight in 1997’s highly regarded three-track effort “Ancient Black Earth”.
To cut to the chase, Sadistic Intent are a pure death metal band in the traditional sense of the term. They don’t provide a good imitation of late 80’s death metal here. "Ancient Black Earth" IS late 80’s death metal. It’s just that it was written, recorded & released in 1997. See what I’m getting at? These dudes simply get it. They understand what’s required to create a genuine old-school death metal atmosphere as they’ve clearly lived it. This sort of approach has become somewhat of a trend over the last decade or so & has seen lesser bands elevated to much higher levels of acclaim & fandom than Sadistic Intent can ever hope to achieve. They really are their own worst enemies as not releasing a full-length is never a great marketing ploy but one gets the feeling that they don't really care. The quality of their material however is very hard to deny.
It won’t take you long to figure out who Sadistic Intent were listening to around 1989. I’ll give you a hint. They start with “M” & end with “orbid Angel”. Ya with me? The short 16 minute duration of the “Ancient Black Earth” E.P. sounds almost exactly like “Altars Of Madness” & “Blessed Are The Sick” at times which certainly can’t be a bad thing now, can it? Are they as good as Trey & co? Well… in a word no but then who is? I mean “Altars Of Madness” is the still the greatest death metal release of all time in my opinion so I’ll take whatever I can get. Very few artists have been able to accurately replicate the riff structures that Trey Azagthoth created back in Morbid Angel's hey day but Rick Cortez & Vince Cervera make a really good fist of it here & even do a pretty decent job at the insanely chaotic guitar solos too even though they’re not in the same league as far as technical ability goes. The blast beats at the start & end of the title track (my personal fave) sound like they’ve been torn straight from Morbid Angel’s “Blasphemy” & I frankly lose my shit when that happens. Then you toss in some super-evil yet easily intelligible Dave Vincent-style death growls of pure darkness & I’m 100% in… hook, line & sinker. There are also a few riffs tossed in that remind me more of the early 90’s Swedish death metal sound but they’re very well done & still manage to maintain a blasphemous & undeniably evil atmosphere.
If you’re a fan of 80’s & early 90’s death metal then you probably owe it to yourself to give this E.P. a spin or four. “Ancient Black Earth” provides categorical proof that you don’t have to reinvent the wheel to make high quality extreme metal. Sadistic Intent deliver on their promise with passion, substance & an unquestionable pedigree & in doing so prove themselves worthy of standing alongside their idols. This is underground death metal of a very high quality.
For fans of Morbid Angel, Repugnant & Mortem.
Genres: Death Metal
Format: EP
Year: 1997
It's funny how a record with such energy & vitality can divide opinions on it's individual components yet elicit a similar overall response, isn't it? I'm hardly a die-hard System Of A Down fan as I'd only ever heard their classic 2001 sophomore album "Toxicity" prior to digging my teeth into this month's feature release. I really enjoyed "Toxicity" though. It was a very strong album & this one is too. Perhaps not quite as strong as it's older sibling but I've rated it the same nonetheless. Let's just say that "Toxicity" was a strong 4/5 while "Mezmerize" has just snuck over the line for that rating by the barest of margins.
"Mezmerize" starts off a little slowly for me as the first three tracks were mildly enjoyable without ever really threatening to hit my sweet spot. It's only when SOAD embrace their hardcore side a bit that I start to see my pulse rate increasing rapidly. I actually really dig the two short gimmick songs in "Cigaro" & "This Cocaine Makes Me Feel Like I'm on This Song", both of which worked to super-charge my experience. I couldn't give a toss about the lyrical direction. It's more about the electricity & urgency they bring to the table. "Violent Pornography" is the only let-down across the tracklisting for me as it's simply too quirky & accessible for my taste but I love the Tool-ish progressive approach of "Question!", the strong alternative metal stylings of "Sad Statue" & especially the lengthier alternative rock builder "Lost in Hollywood" whose hooks really dug in & made it my album highlight. The production job is very much situated in the hardcore space with plenty of mid-range in the guitars & I think this works to the band's benefit as It adds to the chaotic nature of the arrangements & gives the avant-garde vocal approach a better grounding. The occasional Faith No More style clean sections usually aren't my cup of tea when taken in isolation but within the context of the rapid-fire song-structures they work to nicely break up the record.
In many ways I really shouldn't enjoy this album as much as I do because I usually recoil from humour in my metal but System Of A Down have a funny way of nudging you in the ribs enough times with a silly "Eh?" look on their face that you eventually turn around & laugh along with them despite trying hard not to. That's a rare talent because it's so easy to end up on the wrong side of that equation. The fanaticism of the SOAD fanbase is often overwhelming (particularly in the USA) but it's nice to occasionally be reminded that there's a fair bit of merit behind it.
For fans of Faith No More, Dir en Grey & Twelve Foot Ninja.
Genres: Alternative Metal
Format: Album
Year: 2005
I hadn't heard much about Swedish heavy/speed metallers Ambush coming into their 2014 debut album "Firestorm" so I didn't have too many expectations although the obviously retro cover artwork & band logo certainly gave me a hint of what was in store. My first listen was a little tainted by the fact that I popped the record on immediately after listening to Japanese thrashers Ritual Carnage who are obviously a lot more extreme & are also far closer to my musical comfort zone which left "Firestorm" sounding very tame indeed by comparison. A couple of additional spins saw me shedding those initial impressions & finding myself in a better position to treat the album on its merit & I ended up quite enjoying "Firestorm" although it's very hard to ignore the fact that if you didn't know any better you'd swear it was 1978-1982 period Judas Priest. I mean I've rarely heard a more accurate emulation of a band's sound & I feel that there's very little doubt that this was the ambition here. Ambush's sound is perfectly constructed for the task though as they've got that authentic early 80's guitar tone down pat & leave plenty of space in the accessible song structures in order to enhance the melodic hooks & well constructed song structures. Front man Oskar Jacobsson has really spun me out because he's nailed absolutely every nuance of Rob Halford's delivery here. In fact, even Rob's own mother wouldn't know it wasn't him in all honesty.
The tracklisting starts off very nicely with four strong efforts but it does threaten to lose steam through the middle with a couple of flat, cowbell-driven choruses hinting at commercial hard rock (see "Close My Eyes" & "Molotov Cocktail"). Thankfully Ambush manage to pick it up again fairly quickly before dropping the ball again with comfortably the weakest track on the album in the very ordinary closer "Natural Born Killers" but overall there's enough high quality heavy metal here to keep me interested, particularly the two highlight tracks in the very "Exciter"-esque opener "Firestorm" & the dark & brooding "Master Of Pain" (my personal favourite). For those of you looking for speed metal, I wouldn't get your hopes up because Accept-worshipping "Don't Shoot (Let' Em Burn)" is really the only genuine example of that sound included here & I'd encourage you all to vote that genre tag down on the release page. I'm afraid the modern metal scene seems to have a very hard time understanding how to identify speed metal with far too many people throwing the label at anything with palm-muted tremolo-picking. I agree with Vinny's review statements about the lead guitar work as it's always welcome but isn't utilized as often as I would like. I'd also suggest that a shreddier modern approach would have been nice there too rather than simply trying to emulate a more restrained late 70's solo every time. Still... this was a pretty fun first-up effort from Ambush & if you live for early 80's Priest then you'll undoubtedly lap it up.
For fans of Judas Priest, Accept & Riot.
Genres: Heavy Metal Speed Metal
Format: Album
Year: 2014
I'm sure you already know what I think of this release without having to wait for my synopsis Ben as it's clearly right up my alley. I first encountered this Japanese thrash metal outfit on the tail end of my tape trading years through their debut album "The Highest Law" & seem to recall that it took up the B-side of a cassette that had Witchery's "Restless & Dead" album on the other side if I'm not mistaken. I remember quite liking it although I don't think it commanded too many replays after the first few listens. It was enough to have me flicking through this sophomore album when I returned to metal in 2009 though & I found "Every Nerve Alive" to more than satisfy my thrash metal itch by well & truly living up to its title. I haven't returned to it since for one reason or another but needless to say that I'm very glad I have now because this record poses a strong challenge to Sabbat in regard to the Japanese thrash crown.
You won't find anything too original here. In fact, you'll regularly find yourself picking out riffs that have been copped from Slayer, Kreator or Dark Angel albums but the material is played with conviction & authenticity throughout & it's clear that Ritual Carnage have a deep understanding of the classic thrash metal ethos. Despite many people online wanting to tag "Every Nerve Alive" as death/thrash there really isn't much death metal here apart from one section of "Escape From the Light" which reminds me very much of Bolt Thrower. The vocals are certainly gruff but I don't think that overcomes the fact that musically Ritual Carnage rarely stray from the thrash metal blueprint. They admittedly champion a pretty brutal thrash sound though & one that draws equally from the more extreme US bands & the rawer Teutonic scene. Closing track "Far East Aggressors" is the only track that deviates from that model much, instead opting for a more simplistic attempt at speed metal & unfortunately failing in this endeavor but I really dig the rest of "Every Nerve Alive" with "Death, Judgement, Fate" being the clear highlight & representing a truly classic Japanese thrash metal track in its own right. Despite some pretty cool guitar solos, the riff structures & drumming can often sound a little basic but if you enjoy the more extreme end of thrash then you can do a lot worse than "Every Nerve Alive".
For fans of Slayer, Kreator & Morbid Saint.
Genres: Thrash Metal
Format: Album
Year: 2000
I was really impressed with The Contortionist's debut album "Exoplanet" (4/5) when it was released back in 2010. In fact, I actually wore the t-shirt around for a couple of years there so I was really looking forward to seeing what the Indiana-based deathcore outfit had to offer when 2012's "Intrinsic" saw the light of day a couple of years later & I wasn't disappointed either. The pivot towards a more progressive & less extreme sound fit like a glove in my opinion & "Intrinsic" ended up being a really big record for me that year so I have to admit that it's always baffled me that people generally seem to regard it as a bit of a disappointment. I honestly can't fathom how any fan of progressive metal music doesn't really dig it to tell you the truth as it's so professionally put together & possesses an undeniable class throughout the very consistent tracklisting. Perhaps my original 4.5/5 rating was a bit extreme but I can find very little worthy of criticism here. The dreamy progressive metal stylings glide across your ear drums leaving a glistening trail behind them while the complexity in the song structures is as dazzling as it is effortless. The last three tracks are the clear highlights in my opinion & leave me with a really sweet taste in my mouth, particularly the wonderful "Cortical". I've always found the quality of closer "Parallel Trance" to be impressive too as it could easily have been drawn from a premium space ambient release.
There are a few more generic deathcore sections spread across the tracklisting which is probably the reason for me dropping my rating a touch but some the highlights of the album also come during the heavier moments too so I'm not complaining too much. Despite the obvious deathcore component, I'm not sure that there's enough of the band's original sound left to still be claiming that tag any longer though. This is a truly progressive metal record in every sense of the term so there's really no need for additional tags.
I originally favoured "Intrinsic" over "Exoplanet" but now I'm not so sure. They're both very strong albums in their own right with "Intrinsic" being a horribly underappreciated release from a band that wasn't capable of producing anything less than top class stuff. In fact, after this revisit I think I'd go so far as to say that The Contortionist are still the finest exponent of deathcore-based progressive metal that I've encountered & I'd take "Intrinsic" over similar feature releases like Slice The Cake's "Odyssey To The West" or After The Burial's "Rareform".
For fans of After The Burial, Slice The Cake & Kardashev.
Genres: Progressive Metal
Format: Album
Year: 2012
Crossover thrash & I have had a bumpy journey over the years. I generally like the big name releases but it's very rare that I genuinely love them. I think a lot of this is due to the overall simplicity of the song-writing & composition & this is never more evident than it is on D.R.I.'s sixth & final full-length. I first encountered D.R.I. through my best mate's older cousin via their highly regarded 1985 debut album "Dealing With It" when I was only about 13 years old. I have to admit that I didn't really get it at the time & I still don't today but as I ventured further into their back catalogue I found that their was a fair bit to enjoy in D.R.I.'s late 80's releases which were more in line with my thrash obsession so I kept a casual eye on them moving forwards with each successive release. I would guess that I haven't given "Full Speed Ahead" a listen since the mid-90's though so let's see if my gradually increased affection for hardcore-affiliated metal releases has finally allowed me to fully commit to a record like this one.
"Full Speed Ahead" may have been released in a decade that's regarded by many as a graveyard for thrash metal but you shouldn't expect D.R.I. to have gone all grunge/alternative on us because this record is exactly what you'd expect from them. The thing that I do notice is that it sounds much more restrained & controlled than their early material did. The thrash metal component was certainly very strong by this point in their career with the double-kick drumming being a primary feature. "Full Speed Ahead" is a hugely riff-based album that never tries to over-complicate things & leaves plenty of breathing room. This works a treat on the more up-tempo numbers which showcase the energy & vitality that D.R.I. made their signature over their decade-long reign but the slower, lengthier numbers tend to sound a bit flat & dull at times. D.R.I. are at their best when they're reminding me of the influence they had on Slayer (at least they are for me which is not surprising given my life-long lover affair with the band). Songs like "Drawn & Quartered" leave you with no doubt whatsoever as to where Slayer drew their inspiration for "Reign In Blood" from while the sub-one minute album highlight "Broke" offers up a searing ball of aggression that never fails to get my blood pumping. Front man Kurt Brecht has maintained every bit of his punk integrity with a charismatic (if fairly loose & unpolished) performance that won't disappoint fans of the band's previous work. But it's the drumming of Rob Rampy that's the key contributor here as he plays the most prominent role in the winning or losing of each individual track & shows himself to have a fair amount of chops in the process.
As with so many similar releases over the years, I've found this crossover thrash record to possess enough energy & fun to keep me interested without ever threatening to see me reaching for my higher scores. I find myself quite enjoying about two thirds of the tracklisting but the other third is pretty uninteresting to tell you the truth. The length of the album is also a bit excessive for a crossover release & I have to wonder whether D.R.I. would simply have been better off culling a third of the album & presenting a record of a more consistent quality. In saying that, I'm not actually sure that would have seen me scoring "Full Speed Ahead" any higher than I have as there simply aren't enough high-scoring highlight tracks for that. Ultimately, if you like crossover thrash then you'll probably find some enjoyment here but I'll be surprised if it makes too many top tens.
Genres: Thrash Metal
Format: Album
Year: 1995
Let me just say up front that this is a release of high quality. I'd never heard of Slice The Cake prior to Saxy nominating this record for feature status but in hindsight this surprises me somewhat because they've got class flowing freely from every orifice. The band is essentially made up of a trio of talented individuals from all around the globe who have managed to produce an astoundingly ambitious & free-flowing record under the circumstances. Apparently it was recorded well before the release date too & was left to sit on the shelf for a number of years after the vocalist & the bass player & main song-writer had a major falling out. That's even more interesting because it's hard to imagine any of the band members not wanting to have this album hit some ear drums post-haste given the general professionalism in the composition & execution.
"Odyssey To The West" is generally touted as being a progressive deathcore record & that's a pretty apt description however it's worth knowing that the progressive metal portion outweighs the deathcore one fairly comfortably with the structures of both the songs & the riffs being far more ambitious than your average deathcore exponents can generally muster & the scope & variety of territory that's covered being a lot more impressive too. There are several vocal styles employed across the tracklisting ranging from spoken word to violent deathcore grunts & screams. There's clearly been an effort made to make a lot of the cleaner stuff sound a little bit unhinged & insane & it often reminds me of Korn's Jonathan Davis in this regard. It's also interesting that the RYM band page indicates that the drumming is programmed but if that's the case then I never would have picked it. It would have to have been a monumental effort to sit down & program the whole record beat by beat. I love the guitar solos which have clearly been influenced by Dream Theater's John Petrucci i.e. my all-time favourite lead guitarist. There's a djenty element to many of the riffs that's done extremely well too with the more complex rhythms being executed with the utmost ease & sounding far smoother than they would appear on paper.
It's hard to be critical of the consistency displayed across the fifteen tracks included as there are no genuinely weak moments. I definitely think the two cleaner balladish tracks are the weaker of the bunch although I also wouldn't argue with their inclusion as the album really needed them to break it up a bit given the lengthy 77 minute run time & that's the major weakness of "Odyssey To The West" in my opinion. Despite the undeiable quality of the material, the run time is simply too long which takes the edge off the whole thing a little bit during the back end of the record due to the listener's inability to take in this amount of complexity in one sitting & it subsequently tends to wash over you without a lot sticking during the first listen. For this reason, multiple listens are an absolute must in order to fully grasp the album as a piece of art.
Given the time though, "Odyssey To The West" has become one of the more impressive examples of the progressive deathcore sound. It doesn't quite reach the heights of The Contortionist's best work in my opinion but I'd probably take Slice The Cake over Born Of Osiris or After The Burial who don't have the same level of artistic credibility in my experience. Slice The Cake offer something a little bit different with musicality given as much focus as technicality & have succeeded in creating an intriguing & satisfying piece of work that will no doubt appeal to fans of the bands I've just mentioned.
Genres: Metalcore Progressive Metal
Format: Album
Year: 2016
Many of you are probably aware that one of the main reasons that Ben & I started the Metal Academy brand in the first place was to combat the atrocious bias displayed by the global metal market, particularly towards specific sub-sections of the metal audience. RateYourMusic is a prime example of this with their charts tending to be dominated by particular subgenres while others are unanimously panned more for being associated with their subgenre than for being a poor example of its type. Well, New Jersey slam deathcore outfit Waking The Cadaver have suffered from this affliction more than most & are widely regarded as one of the least popular bands on RYM despite being one of the more popular artists in the slam death metal scene. I wasn't familiar with their much-maligned 2007 debut album "Perverse Recollections of a Necromangler" before so I thought I'd challenge myself to see just how bad it could be. I forced myself to keep an open mind & made every effort to remove any preconceptions or bias from my mind throughout the process.
So what did I find? Well, let's start by stating that (despite the general consensus indicating otherwise) this is much more of a slam record than it is a deathcore one. Sure, there are breakdowns galore but those were common-place in the slam scene well before the deathcore kids adopted them which seems to have fooled a lot of the less experienced listeners out there. I mean if you don't like slam (which accounts for 99% of metalheads) then you'll stand absolutely no chance with this record & that fact alone will no doubt have contributed significantly to this album's demise. Secondly, Waking The Cadaver have some brutal & chunky riffs at times. That's a fact that needs to be recognized. But where the problems lie is in a) the completely indecipherable & overly gutteral (in the literal sense of the sound of water going down a drain) pig squeals that consistently go "Bbbrreeeeeeeee" throughout the album & b) the total lack of any drumming skills displayed by the man behind the kit who simply can't play a blast-beat to save his life & has this flaw exacerbated by one of those tinny, light-weight snare sounds that stands out very obviously in the mix. I could overcome the obviously generic nature of the Suffocation-style slam riffs & the super-predictable deathcore breakdowns if not for those two elements which leave a general stain on the album. It all just reeks of a band that weren't quite ready to record a proper release yet. I'm not too sure if they've since matured as musicians but it would have been interesting to see what this record sounded like if performed by someone more competent.
Is "Perverse Recollections of a Necromangler" really as bad as it's made out to be though? Look, if slam death metal & deathcore breakdowns aren't your thing then there's absolutely no doubt that your feelings will tend to align with the general consensus. In fact, you're likely to be repulsed by it with every fiber of your being. But if you like those particular subgenres of metal then this is really just another meaningless release in a scene that's completely flooded with them & it certainly doesn't deserve to be singled out merely due to it's being so focused on celebrating the elements that people hate about certain scenes. Personally, I can overcome some of those annoyances & see that there's some fun to be had here. Slam death metal shouldn't be overthought after all. Do I genuinely enjoy this release? No, not really. I love the intro track which sets the scene nicely but other than that there's really only one song that I find myself returning to i.e. "Type a Secretor". On the other hand though, this is far from the worst thing I've heard either because I'm an undeniable sucker for a chunky slam riff. I'd just encourage people to stick to their lanes when it comes to a record like this because its certainly not trying to change the world so comparing it with releases that are is a fruitless exercise with an inevitable outcome.
P.S. Tongue-in-cheek track titles like "Pigtails Are for Face Fucking" are certainly fun but do we really need to sit through 53 seconds of the band smoking bongs in the middle of the album?
Genres: Death Metal Metalcore
Format: Album
Year: 2007
I absolutely adored Killing Joke's self-titled 2003 album when we featured it in early 2021 so I was really looking forward to seeing what its follow-up had to offer (especially given that its arguably Killing Joke's most popular metal record) & it hasn't disappointed although it hasn't quite made the same impact as its predecessor. The production job is noticeably rougher &, even though this is apparently intentional given that the band felt their previous record was a little too clean, I do find the guitar tone to be a bit disappointing & the drums to sound a little flabby & thin at times. It took me a couple of listens to become accustomed to this but once I got my teeth into the song-writing it was pretty easy to overlook that flaw.
The first three tracks seem to be the clear fan favourites but interestingly (although hardly surprising) I find the less popular inclusions to be the real gems. If you only listened to those first three tracks though you'd likely be given the impression that "Hosannas From the Basements of Hell" isn't actually a metal record because opener "This Tribal Antidote" (the only track I struggle with here) sounds more like the band's early post-punk works than anything else while the title track & the heavily symphonic "Invocation" are much closer to industrial rock than they are to metal. But never fear because the album gets significantly heavier from that point on with an abrasive industrial metal sound taking over for the remainder of the tracklisting. If you're not a patient metalhead & you aren't into a more cerebral style of music then turn around & walk away now because Killing Joke's approach is very repetitive with these long tracks featuring relatively few changes. The aim is to get the listener into a consistent groove that builds in tension gradually over time. It either works for you or it doesn't & luckily for me I'm right onboard with music like this (perhaps helped by my techno days in this regard).
You can detect the post-punk component of Killing Joke's sound in the guitar arpeggios & tribal rhythms employed throughout while front man Jaz Coleman's grindy vocals & beautifully timed & placed keyboard lines are always very effective. You'll have to wait till right to the end of the album to hear the true potential in this material though with the last two songs ("Judas Goat" & "Gratititude") being utterly mind-blowing & the clear album highlights for me. I also love the lengthy "Walking With Gods" which sits in the middle of the tracklisting. It's hard to argue with the pure class that Killing Joke exude here & my hopes for another vitally important record have been richly rewarded, even if I do favour "Hosannas From the Basements of Hell"s wonderful elder sibling by a clear margin.
Genres: Industrial Metal
Format: Album
Year: 2006
Another Running Wild album, another fairly flat & dull heavy metal record with poor vocals in my opinion. The production job is very 80's with a thin guitar sound but the bass is unusually loud in the mix & subsequently plays a more significant part than it might otherwise have. The guitar solos are entertaining & there are some cool heavy metal riffs included but (as usual) axe-slinging front man Rock 'n' Rolf is simply not capable of filling the shoes of a tier two heavy metal act. In fact, he spends a fair amount of the run time drifting in & out of key if you wanna get technical about it & the excessive reverb he's been drenched in doesn't help much either.
The tracklisting starts off with four of the weaker tracks on the album & doesn't really get going until the middle of the record with catchy heavy metal songs "Uaschitschun" & "Blown To Kingdom Come" offering me a lot more appeal than the earlier material while speed metal anthem "Warchild" has some really good energy about it. But it's (perhaps unsurprisingly) the instrumental piece "Final Gates" that represents the highlight of the album for me personally, despite really being more of a showcase for Jens Becker's bass guitar skills. You'll notice that I'm still yet to mention power metal anywhere here & there's a reason for that because (as with some of Running Wild's other material) I once again find myself struggling to pick up where people are finding the link. Of the ten proper songs included here seven of them sit firmly in the traditional heavy metal camp while "Into The Arena", "Warchild" & lengthy closer "Calico Jack" veer over towards a faster, more energetic speed metal sound but there are only ever hints at genuine power metal & not enough for a primary tag in my opinion. As usual the pirate references are purely to do with the lyrics, cover art & intro track & you can easily overlook them if you choose to (which I clearly do).
The long & short of it is that I just don't think Running Wild will ever be for me & I really struggle to see the appeal that people find in them. They just sound a bit flat to my ears rather than being genuinely bad so I always find myself reaching for a disappointing 3/5 rating with "Port Royal" being no exception. If I look at Running Wild's back catalogue, I'd suggest that I prefer it to the band's 1985 sophomore album "Branded & Exiled" & noticeably weaker "Wild Animal" E.P. from 1990 but I'd probably take 1994's "Black Hand Inn", 1989's "Death Or Glory" & their 1984 debut album "Gates To Purgatory" over this one even though I have pretty similar feelings about all of them. Perhaps I'm destined never to find a Running Wild record that I enjoy & I'm at peace with that as I've certainly given them a good Aussie crack.
Genres: Heavy Metal Power Metal
Format: Album
Year: 1988
I think it's fair to say that deathcore has got a really bad reputation in underground metal circles. It's notorious for being unintelligent, unsophisticated & frustratingly generic & those traits are admittedly not hard to find if you only look on the surface however I'm going to stand up & make a bold statement here today... I'm a fan of high quality deathcore & I'm not afraid to admit it. In fact, I think it's reputation is both overthetop & a bit unfair because if you look a little deeper you'll find that there's a side to the subgenre that offers plenty of appeal to the average extreme metal fan with California's Impending Doom sitting firmly in that space. I first discovered them back in 2012 when this fourth album came to my attention & it made such an impression on me that I found myself traveling back to explore the rest of Impending Doom's back catalogue. Their 2005 debut E.P. "The Sin & Doom of Godless Men" didn't offer much but all of their subsequent work is worth checking out if you like the idea of well-executed & professionally produced precision violence. "Baptized In Filth" remained their most impressive work however & I've thoroughly enjoyed this revisit a decade later.
Can Impending Doom be labelled as being generic? Well, you'll certainly hear most of the traits that the deathcore subgenre has made it's calling cards (breakdowns, single note riffs, gravity drops, etc.) but the sheer vitriol that the band are able to produce allows them to stand over the try-hards & push their faces forcefully into the turf. This is an unapologetically metal-as-fuck release right here & the band clearly don't give two shits about whether you like it or not. The death metal component is a little more significant than many other deathcore bands can claim with the regular use of blast beats & a bunch of angular riffs that remind me of Cannibal Corpse seeing my ears prick up. These guys certainly don't shy away from the more rhythmic & djenty riff structure that deathcore is known for either but thankfully their sound & execution are super-tight & ridiculously heavy which should be enough to draw in any self-respecting metal fan. But it's the brutal vocals of Brook Reeves that are the real highlight for me personally. He sounds positively scary & unhinged here, kinda like what I imagine Phil Anselmo might sound like if you stole his last bag of heroin. Just sheer, undiluted violence & aggression from start to finish so you'd honestly never guess that these guys are a Christian band if you didn't read it in the press. Yes, that's right. Just like 7 Horns 7 Eyes who claimed this month's The Horde feature release, Impending Doom are another bunch of Christians who enjoy the exhilaration of the most brutal metal they can muster & good luck to them I say. I honestly couldn't give a fuck what they do before going to bed at night when they can produce metal of this quality but I'd dare say it's cost them some of their credibility with the more narrow-minded & elitist punters out there.
"Baptized In Filth" isn't a perfect album by any means. It's certainly top heavy with the first four tracks being the best of the ten on offer & the cleaned-sung & more melodic second last track "My Light Unseen" standing out like a sore thumb in a tracklisting that's otherwise completely focused on brutality (is it just me of does Reeves sound a fair bit like a better version of Nickelback's Chad Kroeger on that track?). The quality never dips below a really solid base level though & the three track run from "For the Wicked" to "Deceiver" sits amongst the strongest I've heard from the deathcore subgenre. I can honestly say that I get really pumped up by this music & feel like it's the perfect way to get my aggression out. It's also worth noting that "Baptized In Filth" was one of a number of records that contributed to me wanting to work on this website with Ben in the first place. It's always frustrated me that certain genres of music unanimously seem to receive such poor ratings on RYM regardless of the merit of the release as a representation of the sound (for the record "Baptized In Filth" is currently sitting at a pathetic 3.08 from 150 ratings after a full ten years since release) & the fact that Metal Archives don't even consider this record to be metal enough for inclusion on their site but are happy for Rush & Scorpions to take part is mind-boggling. This made me want to help create an environment where fans of all types of metal can identify the best releases for their personal preferences &, low & behold, that's what we've done, isn't it? Anyway... I strongly urge any death metal fans out there who think they don't like deathcore to give "Baptized In Filth" a few spins. You may be surprised at the outcome.
Genres: Metalcore
Format: Album
Year: 2012
While I've always had time for the Ulver's infamous 1995 debut album "Bergtatt: Et eeventyr i 5 capitler", I have to admit that it's never struck me as being as mind-blowing as other people seem to find it & I actually don't find myself returning to it all that often. I guess the folkier side of atmospheric/Pagan black metal probably isn't my strong suit but I've never doubted the album's credentials. I did quite enjoy their entirely folk driven sophomore record "Kveldssanger" from the following year though & found myself giving it a fair few spins over the course of the next year, predominantly when I was winding down or when my less metal-inclined friends & family were around. But let's be honest, if Ulver were ever going to really grab me it was going to be via their surprisingly grim & ultra-raw third record "Nattens madrigal: Aatte hymne til ulven i manden" which strangely saw the band regressing to the most primitive of black metal aesthetics.
I often see fans of your more underground & extreme black metal maxing lyrical about this record & yes there's a fair bit to like about it but there's also something that prevents me from letting it fully engulf me. There's very little doubt that it's a tribute to Darkthrone's unholy trinity because it takes exactly the same predominantly tremolo-picked route as "Transilvanian Hunger" & is presented with a very similar lo-fi production to "A Blaze In The Northern Sky" with Garm's fantastic vocals being the spitting image of Nocturno Culto's & the relentless drumming having almost no variety whatsoever. But there's something different about the use of melody here in that it evokes a more positive atmosphere which is a fair bit less imposing than that of Fenriz & co. In fact, I'd even go so far as to say that some of the tremolo picked riffs possess a similar feel to a band like Deafheaven in that they're almost uplifting &, while that certainly works for Deafheaven's more polished offerings, it's not something that I'd suggest would usually be my cup of tea within the context of a much rawer black metal album. "Nattens madrigal"s filthy sound is certainly primitive but it's not always particularly dark or cold & that's something that places a cap on my enjoyment level a touch. It's also very heavily weighted towards the extreme ends of the tracklisting with the two best tracks kicking off proceedings, the quality level dropping a bit throughout the entire middle of the record & things taking an upward curve again at the end.
In saying all that, I do regard "Nattens madrigal: Aatte hymne til ulven i manden" as Ulver's most appealing metal record & did come pretty close to awarding a 4/5 rating, only to fall just short due to the inclusion of "Hymne VII - Wolf and Destiny" which doesn't do much for me at all. At it's best this is a very solid example of true Norwegian black metal but it just doesn't reach those heights consistently enough to see me regularly returning to it.
For fans of Darkthrone, Immortal & Gorgoroth.
Genres: Black Metal
Format: Album
Year: 1997