METAL SIDE WEBZINE
Reviews
– November 2006
Aversion
To Life
“Ritualized
Murder”
2006,
Comatose Music
In
2003 and 2004 I was impressed seeing how Texan Death Metal Scene was getting stronger
and stronger. In 2005 I had impression that it slowed down a bit but in 2006 I
can see that many good materials were simply in works so there was no reasons
to accuse Texas of stagnation. One of these materials is debut album recorded
by Aversion To Life. That’s typical but good brutal
Gore Death Metal album. I call it typical because the quartet from Texas didn’t pass the
musical boundaries of the genre, and uses many well-known from years formulas how to make the album as sick as possible.
That’s why you won’t find anything revolutionary on “Ritualized Murder”.
However, when old formulas are used intelligently, how it is in a case of the
authors of “Ritualized Murder”, a fan of brutal music doesn’t need any
revolution. Aversion to Life has track-structures that really help to express
brutality and sickness in a way that will satisfy the fans of such style.
Nothing complicated although the tempo changes are frequent. Blast beats,
low-tuned guitars, and deep vocals are the simplest weapons from Death Metal
arsenal but the effects of their use are usually very destructive. Aversion to
Life’s material confirms that simple truth. When you listen
“Ritualized Murder” you won’t have aversion to Death Metal. You should have
quite different impressions. www.comatosemusic.com
Cretin
“Freakery”
2006,
Relapse Records
We
have new Grind-core masters. Cretin comes from the same state as Terrorizer – California.
That’s not the only similarity. Terrorizer’s
influences are audible on “Freakery”. However, I
think that stronger are Repulsion’s influences. Anyway, both sources of
inspiration are perfectly chosen taking into consideration that these legendary
bands set the best standards for Grind-core. Cretin to some degree follows
their paths, but discovers also new ways how to crush and grind. That’s
talented band that must be treated as serious candidate to conquer the empty
throne of Grind-core movement. www.cretanic.com
Deicide
„The
Stench of the Redemption”
2006,
Earache Records
For
years Deicide had the most stable line-up in the genre. While other bands were
changing vocalists, guitarists, bassists, drummers, and whoever they could, Florida’s Death Metal masters
avoided any changes. Benton, Asheim, and the Hoffmans – it seemed they would be together forever at
least as long as Deicide would exist. But the day has come when Hoffmans have left the band. The quarrel was huge, and many
unnecessary accusations were formulated by both sides of the strike. But the
most important was the band’s musical future, if the personal earthquake would
also bring a radical change of the style. When Benton and Asheim
recruited Ralph Santola and Jack Owen, we knew that
at least technical skills of the new members were impressive, but we could
still wonder what their use would be. “The Stench of the Redemption” gives the
answer. Well, if I had any doubts if Deicide’s
supremacy was in danger, I lost them when I listened to this murderous album. It’s Deicide’s most brutal since
brilliant self-titled debut. The speed is insane. The vocals are all about
blasphemy. The guitar-work is impressive in each aspect, no matter if we
analyze the solos, or the harmonies, or the riffs. That’s a masterpiece. And
it’s still Deicide. New Benton’s
crew improved the style slightly but all what was important and most
characteristic in Deicide’s music,
remains the core of the material.
Deicide
“The
Stench of Redemption”
2006,
Earache Records
Those
who thought that after Hoffmann brothers departure Deicide would collapse, were
absolutely wrong. Glen Benton and Steve Asheim found
very professional guitarists to complete the line-up. No one doubted that Ralph
Santolla and Jack Owen’s
skills would guarantee very high technical level of the guitar-work on the new
album but the most important question was whether Deicide would be able to
compose good material. Now I see that all fears were senseless. The legend
isn’t destroyed. The legend is strong as never. Frankly I didn’t expect that
“The Stench of Redemption” would be as impressive album. I will dare to say
that it is the best Deicide’s release since their
brilliant self-titled debut. Such comparisons are always risky and subjective
but although I’m a huge fan of “Legion”, “Once Upon The
Cross”, or “Scars of the Crucifix”, listening to them I’m not as impressed as
listening to the newest effort. Deicide’s style
hasn’t changed. That’s still fast, brutal, and demonic material. “The Stench Of Redemption” has incredibly many murderous riffs, and
probably the best track-structures in band’s history. Santolla
and Owen deliver many great solos and generally speaking, their guitar-work is
of the highest quality: their role to make this album a masterpiece is very
significant. Steve Asheim does what he always has
been doing: his performance is the essence of Death Metal drumming. Glen Benton
is in a great form: his vocals are full of hate and have once again very good
modulation. They impressed me 16 years ago when I heard “Deicide”, and they
still impress.
Down
Factor
“Murder
the World”
2005,
Scourge Records
Those
who heard and liked Down Factor’s previous album “Pure” should try to get
“Murder the World” at once. California’s
band had good debut but the new album is better in each important aspect:
better track structures, better riffs, better production, and better execution.
The opening song, “The Wake”, is only a short, peaceful introduction. The next
songs have everything what made California’s
Thrash/Death Metal Scene famous worldwide: aggression, creativeness, and very
good musicianship. Down Factor’s style can please those who like Machine Head,
Testament, Pantera, Punisher, or Exodus. Such
comparisons suggest that Down Factor blends traditional Bay Area Thrash with
trends popular in the mid and late 80’s. The attempts to fuse these traditions
are successful but they would be needless if Oakland’s quarter hadn’t fresh ideas. They
are equally important as the heritage of California’s
scene. “A Song about Insanity”, “Murder the World”, and “Seethe” are my
favorite tracks because of their intensity and strength. A great song is
“Blinded” with very memorable chorus. It’s a hit, and I’m not sarcastic saying
that. That’s very catchy song that should be on playlists
of each serious Radio Station that plays Heavy Metal. www.downfactor.com
Ghoul
“Splatterthrash”
2006,
Razorback Records
It’s
Ghoul’s third album. When this band appeared few years ago, it was one of the
most mysterious projects. The idea to hide the identities of its members didn’t
survive long, and now we know that Impaled is directly responsible for their
crimes against good taste. Previous two albums were good that’s why it was
difficult to imagine that Ghoul could record something worse. However, “Splatterthrash” brings a bit modified style. The
compositions are slower, more Thrash Metal-oriented especially taking into
consideration the drumming. Carcass influences are still very well audible but
again used without exaggeration. You will hear also non-Metal additions
reminding you of music from Quentin Tarantino’s movies. Ghoul knows how to
compose catchy songs with good balance of brutal and melodic riffs. “Splatterthrash” shouldn’t have any problems to become a
popular album in the underground. www.raorbackrecords.com
Gut
“Shrubbery”
2004,
Fat Togue Records
I
don’t know why but when I first heard about Gut not knowing their music yet as
well as its reviews, I thought that having such name, they had to play
ultra-fast Grind-core. I was absolutely wrong, but I’m not disappointed. Gut’s
music doesn’t fit one precise stylistic label. You can’t simply say that it’s
Death Metal or Thrash Metal or Metal-core or something. Gut’s style is
somewhere between these genres. It’s heavy music, sometimes pretty melodic but
first of all rhythmic and based on simple, strong riffs. Different tempos
diversify the material like in “Promise Keeper” that has few speedups as well as
mid-paced parts, a bit Black Sabbath-oriented. Such combination is interesting
and is audible also in other songs. www.bostongut.com
Necrodemon
“Ice
Fields of Hyperion”
2006,
Reaper Records/Open Grave Records
Necrodemon’s previous album
“Allegiance to the Sword” was one of my favorite releases two years ago that’s
why I was very curious of the new material of Indiana’s premier Death Metal band. “Ice
Fields of Hyperion” confirms that Necrodemon has original style and many ideas
how to develop it consequently. It’s mixture of Death Metal and traditional
Thrash/Speed Metal. Undoubtedly Necrodemon avoids the most generic clichés of
the genre, offering songs that call listener’s attention very easily because
they have very good riffs and intelligent tempo changes. The vocals remind me
sometimes surprisingly of early Mayhem, but that’s only and loose connection
between Necrodemon and Black Metal. Singing on that album is classically Death/Thrash-oriented: aggressive, dirty, and varied,
sometimes deep, sometimes almost melodic. The guitar work and drumming keep the
high standards of the genre. I want to praise all songs from “Ice Field of
Hyperion”, but my highest notes get “Mesopotamia – Warriors of Ice”, and “Hordes of Hyperion”.
Their riffs and structures are very good examples how talented band Necrodemon
is. www.necrodemon.com, www.opengraverecords.com
Satan’s
Host
“Satanic
Grimoire: A Greater Black Magick”
2006,
self-released
The
new album of one of the darkest US
bands delivers over 70 minutes of mysterious and challenging Death Metal. It’s
complex, very well-composed music. The classical example of Satan’s Host
ambitious songwriting is “Necromantic Art” – long (8:33) composition with many
interesting and varied riffs, as well as good tempo changes and atmospheric
passages. The combination of melodic, dark riffing, and furious, brutal parts
reminds me of late Rise, but Satan’s Host has own identity, and many original
ideas. Although “Satanic Grimoire” is very long
album, its creators were able to call listener’s attention equally effectively
no matter if he listens to the opening songs or the final tracks. That’s a rare
ability. www.satanshost.com
Solace
of Requiem
“Utopia
Reborn”
2006,
Ruptured Silence Records
Ruptured
Silence calls Solace of Requiem ‘Virginias Masters of Traditional Death Metal’.
You can think that the label simply promotes its product. But believe me,
Solace of Requiem is as good as this short title suggests. I heard their debut,
self-released CD, and liked their music at once. It reminds me of old Morbid
Angel, Nile, and the old Swedish school as
well. Such comparisons are justified not only taking into consideration
influences audible in Solace of Requiem’s music but also its quality. That’s
powerful Death Metal based on very good riffs and interesting vocals. Solace of
Requiem should be praised also because of diversity of their music. Mainly
brutal, this material has also slower, more melancholic, atmospheric parts. The
riffing is pretty melodic, but never loses the strength. And the riffs are
memorable what is the most important observation here.
They make that Solace of Requiem not only isn’t one of thousands anonymous
bands that we can hear every year, but they guarantee as well that for the
authors of “Utopia Reborn” the aspirations to become one of the leaders of US
scene aren’t utopian vision. Very professional promotional kit created by
Ruptured Silence Records should only help Virginia’s band to conquer the underground. www.rupturedsilence.com, www.solreq.com
Solidification
“Vendetta
Driven”
2005,
self-released
Although
Solidification is one of the best unsigned Death Metal bands, the musicians
from Ohio
aren’t as popular in the underground as they deserve. That’s a pity. Do you
need a proof? Just listen to “Vendetta Driven”. Since the opening track “Behind
The Curtain” Solidification attacks with fury,
delivering everything what is a feature of the best Death Metal albums:
strength, brutality, aggression, speed, and many very good ideas. Each of
eleven compositions is full of interesting, shredding riffs, played in insane
tempo, but well-structured as well. It’s 100 % of US Death Metal performed in a
very effective way. The tracks like “Inhumation” or “Y Shaped Incision” are
worth all compliments. The compositions are very condensed, their coherency is
rare. The album lasts about 30 minutes and for such intense material that’s
very proper timing. After the final track “Sore Eye Assist” you are crushed and
shredded but you want more, more and more. www.myspace.com/solidification
Suffocation
“Suffocation”
2006,
Relapse Records
Metallica released “Metallica”, Deicide released “Deicide”, and now Suffocation
released “Suffocation”. We can discuss if band’s name is the best name for this
band’s album but that’s not so important. The music is the key, and NY’s Death
Metal masters don’t disappoint. “Suffocation” is their second album after great
comeback that was the most important musical event in 2004 (of course, for our
favorite genres). New tracks continue the style known from “Souls to Deny” that
wasn’t far from the albums from the 90’s, especially from “Pierced from
Within”. So one can say – that’s old good Suffocation. It’s obvious that albums
recorded after resurrection aren’t as revolutionary as the albums from the 90’s
that were milestones of the genre but Suffocation still has enough ideas to
impress in style that should inspire younger musicians who try to keep the
scene alive. On “Suffocation” brutality and speed are on the typical
Suffocation’s highest level. The track-structures seem even more complex than
on “Souls to Deny”. That’s really great album.
The
Everscathed
“Razors
of Unrest”
2006, Open Grave Records
I’m
more than very glad that this album is finally available. The Everscathed’s music is original combination of Death and
Thrash Metal elements, and it’s really difficult to find many bands that
compose equally effective materials. The trio from Illinois
is a creation of ex-members of such prominent acts like Enmortem
and Corpsevomit what is a very strong recommendation
as these two bands were in the elite of very strong Illinois scene in the 90’s. The Everscathed’s style isn’t totally different from older
compositions of the authors of “Razors of Unrest”, but that’s not a simple
continuation. They present many new ideas that attract listener’s attention
very easily. Since I heard and reviewed The Everscathed’s
two promos with tracks that are now presented on the full-length debut, I knew
what to expect. However, when I listened to entire album, my very good opinion
on this band became simply enthusiastic. “Razors of Unrest” is a perfect
example how to play so called old school Death/Thrash – worshipping the
tradition but also modifying it creatively. The Everscathed’s
compositions have many interesting tempo changes. Sometimes technical,
sometimes a bit progressive, sometimes simply brutal and straightforward, this
material simply has no weak points. http://www.myspace.com/theeverscathed,
www.opengraverecords.com
Unleashed
“Midvinterblot”
2006,
SPV
Do
you remember “Where No Life Dwells”? I’m sure, you do. That’s one of the those
legendary albums that were the milestones of Swedish Death Metal Scene, along
with debut albums from Entombed, Dismember, Grave, Carnage, Merciless,
Afflicted, and others mighty bands. What a great scene it was! This scene had
later many ups and downs, and Unleashed isn’t the exception. Some of their
materials were simply bad, at least in my opinion. Unleashed didn’t start
playing folk or rock’n’roll, it has always been Death
Metal band, but not always they managed to compose good songs. That’s very
prosaic reason of my disappointments when I heard some of their previous CD’s. But listening to “Midvinterblot” I
haven’t any doubts that in such form Unleashed is in the first league of
European scene again. They play in old style, brutally and fast, but
they compose now more complex songs than in early years. Catchy riffs make few
songs memorable ones like “In Victory or Defeat” or “Psycho Killer”. Among 15
songs are also less significant compositions but they’re not boring at all,
that’s why 46 minutes with new Unleashed is interesting musical adventure.
Vitality
“Voracious
Malignity”
2006,
Comatose Music
Having
ex-Prophecy, Devourment, and Sect of Execration’s
members in the line-up, hailing from Texas,
and working with Comatose Music, Vitality gives us at least three very serious
reasons to listen to their debut album. When you hear “Voracious Malignity”,
you will find few more serious reasons to keep listening to this album in the
future, of course if you like such sick and brutal style that is Comatose’s bands trademark. That’s material for those who
admire Lust of Decay, Lividity, Necrotic
Disgorgement, Deaden, and other US
leading Gore Death Metal bands. Seeing such list you can have no doubts that we
speak of very brutal album. “Voracious Malignity” will not set new standards
for such style but in its frames it delivers everything what such material
needs. You will hear blast beats, ultra deep vocals, characteristic mid-paced
sick riffing, and numerous tempo changes. There’s no place left for catchy melodies
or technical ornaments – and frankly I don’t need them here. www.comatosemusic.com