–part
31 –
–July
2005 –
Blood
Ritual
“Black
Grimoire”
2005,
Moribund Cult
Some
of you could’ve started doubting if this album would ever be recorded.
Blood Ritual’s debut album “At The Mountains of Madness” conquered the
Washington’s scene in 1997. “Black Grimoire” appeared eight years later.
The break was long but the band or rather its leader Tim Bishop, the only
member who remained from the original line-up, didn’t waste that time.
He modified Blood Ritual’s style more than I had expected. “At The Mountains
of Madness” and “Black Grimoire” are equally brutal materials but the new
album is much more varied. When Bishop decides to play fast (like in the
opening riffs of “Destruction Ritual” or “Summoning the Unholy War”), his
work reminds of old Morbid Angel and generally speaking old Florida’s Death
Metal School. Since he’s very good instrumentalist (very good solos!),
these parts are also technically very advanced. Aggressive and brutal Death
Metal riffing is mixed with melodic passages that remind rather of Doom/Death
Metal. They are surprisingly catchy (just listen to “Necromancy” or “Ur
Song” – great examples of such playing). Bishop’s songwriting is very interesting
because he managed to combine these elements very coherently. Listening
to “Black Grimoire” I have impression that Blood Ritual’s album is a small
Death Metal symphony. www.moribundcult.com
Candlemass
“Candlemass”
2005,
Nuclear Blast Records
Six
years after “From the 13th Sun” the legends of Doom Metal return,
and it’s one of the best comebacks I’ve ever heard. The new album is equally
good as albums from the 80’s when “Ancient Dreams” and “Tales of Creation”
amazed the Metal World.
The majestic riffs, composed in traditional Candlemass style, will belong
to the most memorable ones in Heavy Metal history. Messiah Marcolin is
in amazing form: his singing is exceptional. Songs like “Seven Silver Keys”,
“Spellbreaker” or “Assassin of the Light” are the masterpieces. One more
thing is worth emphasizing. While many giants of Swedish Metal Scene record
more and more compromising materials, Candlemass new album is surprisingly
heavy. There are no doubts now who rules Doom Metal Scene.
Cult
of Daath
“Slit
Throats and Ritual Nights”
2005,
Deathgasm Records
The
duo from Illinois has a well-deserved reputation of one of the best US
Black Metal bands. Since inception in 1999, Cult of Daath ignored the trends
to play melodic, commercial Black Metal akin to Dimmu Borgir, Kovenant,
Children of Bodom, or Cradle of Filth. It was much closer to the traditional
Black Metal. Also listening to the new album, one can hear influences of
Blasphemy, Graveland, and Burzum. One can hear as well the influences of
Thrash/Speed Metal from the 80’s that definitely was a huge inspiration
for entire classical Black Metal Scene. Cult of Daath adopts old formulas,
has some original ideas, and in such way, they recorded a solid album.
When the duo plays straightforward compositions like “Conceived Through
Black Mass Rape” or “Necrospells” it’s a good material also for Death Metal
fans. And we can never forget that US Black Metal is much closer to Death
Metal than European one. Orthodox Death Metal fans will feel less comfortable
hearing mid-paced and slow parts as well as the vocals which are traditionally
Black Metal-oriented, so dark but not shrieking what unfortunately has
become a standard for Scandinavian Black Metal. Black Metal fans, at least
those who like the traditional Black as described above, should dig “Slit
Throats and Ritual Nights” without such doubts. www.deathgasm.com
Deeds
of Flesh
“Crown
of Souls”
2005,
Unique Leader Records
Year
by year Deeds of Flesh strengthens the position in the US underground.
It’s probably currently one of the most popular Death Metal bands in States.
Their success is a consequence of really hard work. They tour a lot, and
first of all keep recording new materials. Eleven years of existence and
six studio full-length albums: that’s impressive result especially that
Deeds of Flesh records only good materials. On the other hand, the differences
between these albums aren’t significant. Deeds of Flesh’s style is very
stable. I wonder if it’s even not too stable. I like all their albums but
there is a question how long they will be able to record the materials
based on the same ideas. The riffing is always very similar. Soon it may
become a problem. Of course, it’s better that Deeds of Flesh keeps playing
in a style in which they are really good at than if they experimented too
much, loosing the basic advantages of their music: brutality, speed, and
characteristic track-structures. So my intention isn’t to criticize them.
That’s very good band. I only wonder how long they will be a good band
without some modifications of the style. www.uniqueleader.com
Degradation
“Demo
2005”
Degradation
comes from Texas. The Demo from 2005 includes five brutal tracks. The opening
one, “Internal Eruption”, gives you the exact picture of Degradation’s
style. Very fast drumming, deep vocals and shredding guitar riffs have
the roots in the old traditions of US Death Metal scene. At least few very
good bands from Texas play similar kind of Death Metal: Infliction, Reign
of Terror, Nothing Remains, or Death of Millions. Their albums are well
known for everyone who is seriously interested in Texan scene. Degradation
has chances to achieve similar position in Texan underground. This Demo
is an announcement of good debut full-length album. Taking into consideration
the standards of demo materials, Degradation’s release has relatively solid
sound although the purists will say that it should be cleaner. My favorite
compositions are “In The Dusk” and “Hostility” because in my opinion they
have the best riffs: very brutal and straightforward. However, the differences
between them and the other tracks aren’t significant, that’s why analyzing
the quality of all songs, the demo presents good, equal level. http://www.degradation.netfirms.com/
Despondency
“Keep
Murder Alive”
2005,
self-released
Although
California’s Despondency was formed in 1994, it isn’t well-known band in
the underground. I’m not sure if the new EP will change that. I’m not impressed
listening to “Keep Murder Alive”. The material is relatively original,
definitely it doesn’t follow the most popular trends of US Death Metal
scene, but the chosen style is in my opinion very average. First of all,
the riffing isn’t too interesting. It’s brutal playing but very standard.
The worst are mid-paced parts which have no dynamics and heaviness. When
Despondency plays faster like in “Lost Cause” effect is better. I don’t
like also screaming vocals. Fortunately there’s also growl but that can’t
change my very severe opinion on that EP. www.despondency666.com
Destruktor
“Nuclear
Storm”
2004,
Hells Headbangers
Destruktor’s
ripping Death Metal is one of the current highlights of Australia’s scene.
Four tracks (+ Intro) recorded in 2002 are a must for the fans of Death
Metal based on the patterns of Nun Slaughter, Possessed, Sadistic Intent,
and old Thrash/Speed Metal from the 80’s. Australian trio plays simple
compositions without never ending tempo changes but in their music the
most important is the fury which they express. “Strive to Conquer” is its
best example but the other tracks present the same level of aggression.
It’s interesting that undoubtedly brutal music is at the same time catchy.
That’s a good feature, especially that Destruktor plays uncompromisingly
and that’s not catchiness typical for commercial Black/Death Metal but
the reference to the glorious traditions of the scene from the 80’s. www.hellsheadbangers.com
2005,
Century Media
I
was surprised that Divine Empire had recorded so long album. 58 minutes
without any annoying minutes of silence and never-ending intros and outros:
that’s a good result. Florida’s band recorded 16 tracks and it suggests
that they have no problems with new ideas although it’s already their 4th
full-length album. What is most important, one can wonder if “Method of
Execution” is their best work to date what means that not only the ideas
are new but that they are good as well. The core of Divine Empire’s style
hasn’t changed. That’s still brutal Florida’s Death Metal with many blast
beats, shredding riffs, and deep vocals. That’s very well-known style but
still very attractive, especially when it’s played by so skilled musicians. Divine
Empire tries to diversify it. For example the use of the keyboards in the
opening parts of “Vowed Revenge” reminds me of last Rise’s album “Divine
Aeternum”. Some other arrangements are well-chosen ways to make the material
varied enough what taking into consideration its length is very important.
But brutal drumming and riffs are still Divine Empire’s trademark. However,
although Divine Empire recorded so good album the future of the group is
unclear. After the release of “Method of Execution” there were serious
changes in the line-up. According to one version, Jason Blachowicz left
the band and J. P. Soars looks for new vocalist and bassist. According
to another version, J. P. Soars and Duane Timlin are no longer Divine Empire’s
members and Blachowicz will announce the names of new musicians soon. No
matter how it really is, the change of key members is always a tough decision.
On the other hand, when Blachowicz replaced Brett Hoffman in Malevolent
Creation, Malevolent Creation survived and recorded two great albums: “Eternal”
and my favorite one “In Cold Blood”. Then Hoffman returned and again nothing
wrong happened. Also nothing happened when Kyle Simmons replaced Hoffman.
I hope that Divine Empire will overcome the problems equally efficiently.
"Dawn
of Suffering"
Demo
2005
Three
tracks from brand new Texan Death Metal band are a good debut material.
That's not a surprise for me because the band has former Mortal Suffering's
member in the line-up and I liked that probably defunct project. Emperial
Massacre goes in similar direction, modifying a bit the style. "Tainted
Viaticum" is a violent introduction of Emperial Massacre's potential to
compose and play brutal Death Metal. It's very dynamic track with good
tempo changes and characteristic chorus. The title composition is much
slower, mainly in mid-tempos, although there is a fast part in the middle
of the track. Frankly, in my opinion that's the weakest song on the demo.
Comparing with the other tracks, it’s much less intense although it has
pretty interesting structure. "Voices of Tormenting Redemption" is comeback
of very fast drumming and shredding guitar riffs that remind of Hate Eternal,
Scarabaeus, and El Paso's Reign of Terror. It’s well-executed pure brutality.
Texan scene can be proud of new good band. http://www.geocities.com/emperialmassacre/,http://www.myspace.com/emperialmassacre
2005,
Hell’s Headbangers
It’s
good to hear new Evil Incarnate album since the band from Illinois released
the previous material, CD “Blackest Hymns of God’s Disgrace”, a long time
ago: in 2000. The new album presents six new compositions and two covers
(Slayer’s Piece by Piece, and Destruction’s Tormentor). Evil
Incarnate’s style hasn’t changed. It is still old school-oriented, blasphemous
Death Metal. “Waiting for his Return” is a bit slower than previous album
although the fans of straightforward drumming will get what they like especially
in “Into Hands of Sinners” and the title composition. Evil Incarnate plays
very solid music, and undoubtedly the new album was worth the long wait. www.hellsheadbangers.com
“Epidemic”
2005,
Deathgasm Records
Kuru's
grinding Death Metal is a good example that playing in such style, the
band doesn't have to follow currently most popular trends. Originality
is Kuru’s strong side. On the other hand, “Epidemic” is far from any experiments:
that's pure Grind/Death Metal. Sacramento's outfit plays very violently.
Tempo is insane and it'd be difficult not to appreciate the drummer's work.
The guitars and the vocals have the same feature. The songwriting is solid.
Some tracks are very short and remind of classical Grind that preferred
such radical and extremely intense musical assaults, some have more complex
structures, and that’s a good move because such songwriting method makes
“Epidemic” varied and interesting from the beginning to the end. Among
the long compositions I would compliment especially “Richard Trenton Chase”
and “Epidemic”: truly murderous tracks. On
the album, one can hear old tracks from EP/CD “In Between Worlds” in a
bit modified arrangements. In my opinion the new versions are more intense
and heavier perhaps because the original ones had cleaner sound. The review
on “In Between World” appeared in Metal Side about 3 years ago. Good to
hear that Sacramento’s band keeps evolving in frames of the style created
a couple of years ago. www.deathgasm.com
Mental Horror
“Abyss
of Hypocrisy”
2004,
Displeased Records
Brazil's
Death Metal has more to offer than old Sepultura, Sarcofago, Krisiun and
Rebaelliun. That's obvious thesis but on the other hand many good bands
from Brazil don't attract attention of European and North American fans
of brutal music. A recording deal with record label from Europe is always
a good promotion for the musicians from South America. When they sign deals
with such good labels like Displeased the success in the underground is
very likely. Mental Horror is not a newcomer. Their CD "Proclaiming Vengeance"
released in 2000, so seven years after band's inception, on DeathVomit
had good reviews. However, I have impression that it was another underrated
material from Brazil. The new CD "Abyss of Hypocrisy" is solid and long
album. Almost 50 minutes of very brutal playing will please those who admire
Krisiun and Rebaelliun but also look for some fresh Brazil's blood. http://www.displeasedrecords.com/
Modulus
"Prototype"
Demo
2005
Five
musicians from Virginia created interesting style that is first of all
Death Metal-oriented but has also progressive edge. The track-structures
are complex and avoid the traditional scheme: verse/chorus/verse/chorus.
Of course, countless bands try to make their compositions as intricate
as possible but in case of many of them such attempts cause only chaos.
Modulus has much better songwriters. Their style reminds me a bit of early
Wicked Innocence and Demonic Sacrifice - two absolutely forgotten bands
from the 90's. The technical, mid-paced playing is dominant. It's important
question if the full-length album based on such tempo will be dynamic and
interesting enough to call the listener’s attention not 15 minutes as “Prototype”
but 30 or 40 minutes. Especially that Modulus plays riffs that aren’t easy,
catchy and melodic. It’s challenging music for the listeners. They won’t
hear anything what would remind of currently most popular trends. Some
of them, who have eyes and ears totally closed for more original styles,
can be even disappointed that Modulus chose such separated way. My point
of view is different. Such originality is a virtue and I’m sure that many
of you will agree with me. I’d like to hear more parts with fast drumming
but that’s a detail. If the balance of fast and mid-paced parts will be
similar as in "Compromising the Bio-wall" and "Neural Processor" and Modulus
will compose equally solid riffs as one can hear on the demo, I'm sure
that the debut album will be good. www.modulusmusic.net
“The
Code is Red… Long Live the Code”
2005,
Century Media
Although
I appreciate Napalm Death’s materials like “Diatribes” and “Fear, Emptiness,
Despair” in which UK legends mixed different tempos, styles and ideas,
being sometimes really far from their Grind/Death roots, definitely I prefer
their ‘fast’ albums. Even recording very similar materials in ‘fast’ style,
Napalm Death delivers exactly what I expect. On “The Code is Red…” you
won’t hear anything new comparing with “Harmony Corruption”, “Utopia Banished”
or great EP “Mass Appeal Madness”. What worked very well 15 years ago is
still very good. Nothing has really changed: it’s same kind of riffing
and fast drumming. Only some short parts remind of the materials recorded
in the mid 90’s. Of course, while “Scum”, “Mentally Murdered” and “Harmony
Corruption” were revolutionary and very influential albums, new Napalm
Death’s release isn’t a milestone of the genre. But it is good material
and I don’t need more reasons to listen to it.
2005,
Screaming Ferret
What
a disappointment! That’s disastrous comeback that should’ve never happened.
I didn’t expect that Nuclear Assault would record as good album as their
classics “Handle with Care” or “Game Over” but I didn’t imagine that the
new songs could be so bad. Although the line-up is strong because includes
three of four members from the best era (Connelly, Evans and Lilker; only
Bramante is absent), “Third World Genocide” sounds like recordings of completely
different band. The new compositions are boring and present the complete
lack of dynamics which was Nuclear Assault’s trademark on first releases.
The riffing is dramatically monotonous. Connelly’s singing is shockingly
bad: what happened with his voice? It’s hard to believe that such legendary
band decided to record so weak material.
Promo
2004
"Parasitic
7''"
2005,
Deep Six Records
That's
crushing band with ex-members of The Locust and Cattle Decapitation. Parasitic
continues the best Suffocation's tradition. I don't want to suggest that
"Born of Decay" is a copy of "Effigy of the Forgotten" or "Pierced from
Within". Parasitic's songwriting is original enough to avoid such accusations. On
the other hand, such brutality and intensity that one can hear on these
three tracks justify the thesis that San Diego's quintet presents the same
advantages that NY's Death Metal masters have. The compositions from "Born
of Decay" have good structures with dominating very fast parts and competent
solos. The riffing is memorable and keeps all important brutal standards.
Even taking into consideration how many bands play brutal Death Metal nowadays,
such virtues should place Parasitic among the most promising acts of the
California's scene. Two tracks from "Born of Decay" were released as 7''
by Deep Six Records. That's an obvious must for all collectors of EP's.
I hope that the next release will be a full-length album. http://www.myspace.com/parasiticdm
Parasitoid
is a new band from New Jersey that has chances to conquer the East Coast
underground. Three compositions from Promo 2005 will please the fans of
fast, technical and brutal US Death Metal. It’s interesting music with
good tempo changes, solid solos, and memorable riffs. Something forces
me to think that Cryptopsy seems to be an important influence for Parasitoid’s
members, especially considering the drumming. Not only Cryptopsy fans should
listen to this demo. It’s worth attention also those who like Decapitated,
Teratism, Forcefed Flesh, and other similar projects. Parasitoid’s material
presents more original ideas than usually we can hear on such debut releases.
Also technical skills are better than the average. Add to this list of
compliments that Promo 2005 has good, professional production (Big Blue
Meenie Studios), and you will understand my optimistic vision of Parasitoid’s
future. We’ll see if they will play an important role in the US underground.
Definitely their music justifies such ambitious plans. www.parasitoid.com
“A
Warrior’s Death”
2005,
Displeased Records
Resuscitator
appeared in the underground in the early 90’s. It was one of the bands
which were introduced to Metal world by Wild Rags Records. The debut MCD
“Iniciation” (1994) had pretty good reviews but at that time many California’s
bands had much better press and more opportunities to conquer the US scene.
But Resuscitator survived the worst times for Death Metal in the mid 90’s
and in the 21st century released new materials which helped
the band to sign a deal with Displeased Records. It’s a big chance to call
the attention of European fans. “A
Warrior’s Death” is a mixture of Death and Black Metal. Frankly, except
for the vocals, Death Metal influences dominate. Instrumental parts are
well-structured and professionally executed. Tempos are varied from very
slow to very fast. The latter dominates. I can’t get used only to the vocals.
They’re Black Metal-oriented but they are not typical shrieks. Sometimes
they’re almost spoken. I’m not sure that it was the best solution. The
rest is ok. www.displeasedrecords.com
Requiem
Aeternam
“Philosopher”
2004,I
Corp
That’s
one of the strangest Death/Black Metal releases of 2004. The band originally
had come from Uruguay but then it moved to New York. In the old line-up
appeared two musicians who also played in Opeth. In the line-up that recorded
“Philosopher” was Alex Hernandez, very well known from Immolation and less
known from Fallen Christ. The previous Requiem Aeternam CD “Eternally Dying”
was released in 1998. So the wait for the “Philosopher” was long. But obviously
these facts aren’t a good reason to call “Philosopher” one of the strangest
albums of year. The only reason is the music. You probably wonder if it’s
a compliment. At this moment I won’t give you a simple answer: yes or no.
The reason of my confusion is a variety of Requiem Aeternam’s style. The
trio fuses very different styles in one song. Sometimes it’s Death/Black
Metal, straightforward and dynamic. Sometimes it’s technical Progressive
Metal, with interesting riffs (listen to “Antichrist”). And, for me unfortunately,
sometimes it’s a hybrid of clean guitars and clean vocals like dominating
parts of “Liberty” which are like a rock or grunge ballad. Definitely,
it’s very surprising mixture of different influences and very unique ideas.
Sometimes the results of such songwriting method are good. Taking into
consideration that the band’s members – Hernandez, Maciej Kupiszewski and
the founding member Jose Romero – are very good instrumentalists, it’s
very professional music. However, if you like pure musical forms: pure
Death Metal, pure Black Metal or pure Progressive Metal, you may have serious
problems to accept Requiem Aeternam twists and turns. It’s not the album
that needs only one listening to become well-known, although some best
riffs are memorable and easy to remember at once. Frankly, I listened to
“Philosopher” many times and always had a problem to accept those parts
with clean vocals over clean guitars. That’s why I’m wondering how this
album would sound if Requiem Aeternam limited significantly those parts
and frankly I’d be very happy if the band decided for such move on the
next album. The rest would have been interesting Death Metal or Progressive
Metal release (these stylistic labels aren’t important). On other hand,
reading different reviews on “Philosopher”, it’s obvious for me that such
experimental fusion for many listeners may be the best proof of Requiem
Aeternam’s talent. www.requiem-aeternam.com
2005,
demo
NY's
Rizen plays galloping, fast Death/Thrash Metal. Listening to their demo,
different comparisons come to my mind, including Prime Evil when I want
to emphasize Thrash Metal roots of Rizen's style, and Vader when I try
to find Death Metal influences. Not necessarily Prime Evil and Vader are
the bands that were important inspiration for Rizen's members. That's only
my vision of their music or rather its very subjective summary. Rizen mentions
on their website quite different list of favorite bands. However, a big
difference between Prime Evil and Vader should suggest you that Rizen managed
to mix different influences and create pretty fresh combination of well-known
motives and original ideas. The compositions last about 4, 5 minutes and
have many tempo changes. Fast drumming is dominant. The vocals are Death
Metal-oriented but it isn’t ultra deep growl. The modulation of the vocalist
continues the good traditions of classical Death/Thrash from the 80’s.
The riffs are sometimes melodic but Rizen doesn’t use the formulas invented
by the Scandinavians. It’s very solid US Death/Thrash Metal. www.myspace.com/rizen
2004,
Red Candle Records
Solace
in the Shadows is one of those US bands that intelligently adopted some
ideas born in Scandinavia. I keep repeating that such ability to creative
use of Scandinavian influences isn’t typical for American artists. Generally
speaking, US bands know perfectly how to play uncompromising, brutal or
technical Death Metal. When they try to compose very melodic Death or Black
Metal they aren’t as successful. Solace in the Shadows hasn’t any serious
problems to write solid songs based on melodic, catchy riffs. They use
Scandinavian influences but do not copy them and that’s one of the reasons
why they avoid described problems of many US musicians. Among the four
tracks, my favorite is “Abysmal Paths” that has most interesting and most
aggressive riffs. If I had to criticize one song, it would be “Scream to
Survive” which is most standard in my opinion and has the beginning based
on mid-paced melodic riffing that I usually don’t like on releases from
that genre. Solace in the Shadows fortunately doesn’t use clean vocals
except for some occasional back-ups (and it’s rather spoken than sung voice).
The leading vocals are high, Black Metal-oriented. Growls appear only as
backing vocals. www.redcandlerecors.com
“Fallen”
2005,
Moribund Cult
Summon
has very long discography and it's not a surprise that this Michigan's
band has many devoted fans who always can't wait to hear Summon's new material.
The band doesn't disappoint. “Fallen” is their best release to date although
previous very good CD “As the Blood Runs Black” set very demanding standards.
There're many features of Summon's music that I like but here I will emphasize
only two. Michigan's Death Metal group continues great traditions of the
genre, following the way shown years ago by Morbid Angel. Although “Fallen”
isn't a copy of "Altars of Madness" or "Blessed Are The Sick", it's definitely
Morbid Angel-oriented music taking into consideration the spirit and fury.
Furious drumming and great riffs remind of the old masterpieces. Such
Death Metal will always be alive. However, no matter which bands are the
strongest influences for Summon's members, their songwriting style has
specific trademark and listening to “Fallen”, you shouldn't have any doubts
that it's a creation of talented composers. It's a good lesson how to combine
catchiness and brutality. Melodic, catchy riffs have enough energy and
fury to avoid any danger of unnecessary compromise. That's why Summon gets
better and better band. I hope that this deadly evolution will continue.
Unsanctified
“Demons
Of My Own Making”
2005,
self-released
Unsanctified
had a long break after a release of “Empty Veins”: the debut EP was released
in 2000. Unsanctified is definitely more matured band now although their
style hasn't changed drastically during these five years. It is a bit more
varied but the basic features of Unsanctified’s style are the same. This
music is based on Donnie Marhefka’s very deep vocals and characteristic
riffs which very easily will be recognized as Unsanctified’s original tunes
by everyone who heard “Empty Veins”. The drumming is fast or at least mid-paced.
That’s why the material has good tempo. My favorite track is “This Human
Plague” – the fastest and most brutal, with most interesting riffs in my
opinion although the differences between songs aren’t big. www.unsanctified.com
“The
Sanctuary of Mortal Turpitude”
2005,
self-released
This
is War Torn from