Runa (Pe) - Bullets of Annihilation EP

Artist: Runa (Pe)
Release Title: Bullets of Annihilation EP
Year: 2015
Label: Self-Released/Independent
Genre: Death/Thrash Metal
Tracklisting:
1. Lustful Death
2. Bullets of Annihilation
3. Whispers of the Past
4. Evil Rites
5. Pest

The debut EP from Peruvian death/thrash metal newcomers Runa is a decidedly offers a rather fun and enjoyable take on the old-school scene that showcases their homeland nicely. As with the majority of the South American extreme metal scene, this here is drenched in raw, old-school death metal rhythms that are played rather frantically and intensely in toughened thrash environments which makes the music that much more energetic and lethal which gives off the kind of dirty, thumping vibe with the riff-work a big part of that. Taking stylistically simple-but-engaging riffing and dynamic, thumping rhythms that drives along at great speeds with the occasional drop-off into churning mid-tempo rhythms for select intervals, it makes for enough variety alongside the old-school style to create a wholly impressive attack here. It does run into a rather minor issue here where the material comes off like a rather rudimentary styled South American old-school death metal band for as vicious as it gets in it’s attack there’s little else original about the music throughout here. It runs through a lot of familiar arrangements and patterns that come into play for numerous other groups in this style with the raw working style featuring simplistic rhythms and can make the band blend into that whole scene very easily. As well, the shortness comes into play with this one not even running twenty minutes long with all the tracks barely over three minutes when a little more could’ve made this a lot of fun. It’s still enjoyable enough with these issues though.

On the whole there’s a lot to like here. Opener ‘Lustful Death’ runs through furious drumming and tight thrashing riffing blazing with fiery leads blazing alongside the rather frantic rhythms leading into the sprawling melodic sections toning down the rumbling rhythms before picking them back up leading into the driving final half for an impressive and dynamic opening effort. The title track takes a steady intro with dynamic dexterous drumming settling on a frenetic series of mid-tempo thrashing riffing full of explosive up-tempo patterns and pounding drum-rhythms keeping the steady up-tempo riffing driving along throughout the solo section and carrying the energetic riffing on through the finale for another impressive highlight effort. ‘Whispers of the Past’ slowly builds from a gradual intro into a steady mid-tempo marching gallop with steady rhythms and dexterous drumming flowing through a steady mid-tempo pace with tight riffing leads sweeping through a more energetic series of patterns in the final half for a decent and enjoyable effort. ‘Evil Rites’ features steady drum-work building alongside the sprawling riffing into ravenous drumming and screeching thrash riff-work dive-bombing throughout the frantic, urgent rhythms leading into the solo section and rumbling along to the blasting drumming into the finale for another solid and engaging effort. Finally, ‘Pest’ uses steady pounding drumming and build-up riffing to lead into blasting drum-work and scorching thrash riffing with plenty of energetic rhythms running along throughout the blasting patterns leading through the solo section and keeping the rhythms charging into the final half for an enjoyable lasting impression here.

Though it gives off the hints of its homeland far too often and seems just a touch on the short side, there’s plenty to enjoy about this release and gives this the kind of appeal in the years to come from those that love the South American style of death and/or thrash metal as this seems like a promising band to follow in the years to come.

Score: 83/100

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Wormed - Krighsu

Artist: Wormed
Release Title: Krighsu
Year: 2016
Label: Season of Mist
Genre: Brutal/Technical Death Metal
Tracklisting:
1. Pseudo-Horizon
2. Neomorph Mindkind
3. Agliptian Codex Cyborgization
4. The Singularitarianism
5. Eukaryotic Hex Swarm
6. Computronium Pulsar Nanarchy
7. A-Life Omega Point
8. 57889330816.1
9. Zeroth-Energy Graviton
10. Molecular Winds

The third full-length from Spanish brutal/tech death masters Wormed captures the insanity and blistering performances that once put them on the map in the first place. From the outset this effort places with the sort of mechanical approach to the riffing style that it really manages to overwhelm on just that level alone, whipping up whirlwinds of savage rhythms with a stunningly complex and challenging series of patterns and arrangements that make for a truly engaging time displaying this kind of intensity at that velocity. The utterly pummeling drumming furthers this nicely with it just obliterating everything around it with a sense of blistering devastation carrying those tightly-wound rhythms along throughout the rather impressive and dynamic paces here. Even grooving along at mid-tempo doesn’t alter this one up that much as the blasting drumming and tight, challenging rhythms offer this one with a complex and truly overwhelming cohesion with the faster tracks that it doesn’t deter or slow down the momentum all that much. Tying all this together with the cosmic/celestial theme makes for a truly exhilarating experience as well by making such a seamless mixture with the rampaging brutality and mechanical technicality that there’s little doubt it should’ve been mixed together from the start and gives this a truly enjoyable experience. The shorter interludes here don’t really offer much beyond breathers in an otherwise clobbering and devastating offering, but there’s little about it that needs fixing it’s nearly perfect as is.

The first half here sets things up utterly well. Opener ‘Pseudo-Horizon’ slowly turns into utterly pounding, unrelenting drumming and ferocious, frenzied riff-work taking on challenging patterns keeping the speed-drenched patterns and challenging arrangements utterly drenched in challenging riff-work as the blasting drum-work continues on throughout the final half for an utterly explosive and dynamic opening effort. ‘Neomorph Mindkind’ immediately works through complex chugging rhythms and frenetic blasting drumming with plenty of ferocious patterns firing along into a stuttering mid-tempo series of rhythms keeping the strong celestial rhythms along into the challenging, tight rhythms in the finale for another strong and utterly impressive effort. ‘Agliptian Codex Cyborgization’ offers blistering drumming and complex rhythms charging along through the utterly dynamic and furious riffing charging alongside the blasting, pummeling drumming keeping the intensity flowing into the frenzied, tight and complex patterns blasting into the final half for another over-the-top display of brutality. ‘The Singularitarianism’ fires off utterly pummeling, frenzied drumming alongside tight, complex grooves charging through the stuttering tempos with the blistering drumming blasting through into the celestial noise interlude finale for an effective if still devastating breather. ‘Eukaryotic Hex Swarm’ carries the main celestial noises through into the blasting drum-work alongside the celestial rhythms from the tight, complex drumming charging along into the thumping rhythms and challenging, complex patterns keeping the celestial vibe through the final half fadeout for a strong effort overall.

The second half keeps up the quality of the first half incredibly well. ‘Computronium Pulsar Nanarchy’ features thumping rhythms and tight drumming offering plenty of blistering drum-work with the celestial rhythms carrying the frenetic, blistering drum-patterns into the full-throttle series of complex rhythms charging alongside the frantic rhythms leading into the celestial noise fade-out finale for another strong highlight.  ‘A-Life Omega Point’ features plenty of blistering full-throttle drumming alongside stuttering riff-work through challenging, complex patterns with tight drum-work keeping the stuttering rhythms holding alongside the furious thumping work alongside the ravenous thumping drumming holding the challenging rhythms on through the final half for stellar back-to-back highlights. ‘57889330816.1’ uses a deep, droning series of celestial noise and technologically-scrambled voices setting up the concept storyline as it segues into follow-up ‘Zeroth-Energy Graviton’ blistering through a series of blasting drumming and tight, complex grooves chugging along through complex rhythms and rather frantic patterns full of intense rhythms from the blasting drumming keeping the thumping riff-work along through the brutal blasting in the final half for another stand-out release. Finally, the epic closer ‘Molecular Winds’ takes ferocious riffing chugging alongside blasting drum-work with plenty of frantic patterns keeping the ferocious arrangements and challenging patterns through the tight drumming blasting alongside the churning riffing and rather pummeling celestial patterns working alongside the tight, choppy sections driving into the finale for an utterly pummeling lasting impression here.

This was just an overall blistering release containing nearly everything that a full-on fan of the band or brutal technical death metal will lap up instantly, not only making this one of the best albums in their already-stellar career but immediately earns it a top spot in the genre that will be hard to surpass.

Score: 99/100

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Horricane - Synthetic Forms EP

Artist: Horricane
Release Title: Synthetic Forms EP
Year: 2016
Label: Self-Released/Independent
Genre: Death Metal
Tracklisting:
1. Synthetic Forms
2. Starblind
3. Leper Nation
4. Synthetic Forms (Kaspar Torn remix)

The new EP from Estonian death metallers Horricane is a slightly disappointing effort that doesn’t really seem to serve much of a purpose for it’s release. Though obviously continuing on with their style of incorporating mid-tempo polyrhythmic-centered riff-work and atonal pattern changes with the tight drumming alongside the influx of industrial-ish keyboards, this certainly maintains a consistent sound and feel here with their previous work that’s displayed across a lot fewer tracks than usual, which is where this one somewhat falls apart. The fact that this one only has those few select tracks of original work here considering the three original songs and the remix show up here leaves this one with so few chances to really get to shine that it really loses a lot of it’s appeal trapped in the guise of unimportance that makes this seem like a preview of an upcoming album more than a selection of must-hear music from the group. That said, nothing about the final track on here, a useless remix of the title track where uses industrial samples and cuts the vocal tracks over it all should’ve been released as this is not only bland, lifeless and appaling to think it should’ve been heard but the market is completely unclear as to who would’ve requested that to be done to the band in the first place and really makes the whole thing a colossal waste of time and space. Otherwise this isn’t bad as it’s just more of the same played with the same energy and conviction.

For the most part the music here isn’t too much of a problem. The opening title track slowly moves through a churning series of stylish droning riffing with pounding drumming and thunderous mid-tempo rhythms stuttering along to the surging riffing and sprawling patterns coming along into the plodding industrial waves running along through the final half for a decidedly-decent offering. ‘Starblind’ takes a steady, thumping mid-tempo polyrhythmic riffing style and plodding tempos with djent-flavored chugging holding the simplistic and one-dimensional pace throughout with the haunting keyboards slugging through the bland rhythms into the finale for another enjoyable take on this style. ‘Leper Nation’ takes stylish mid-tempo chugging alongside tight drumming pounding along at a steady, mid-tempo pace churning with plenty of thumping rhythms carrying the energetic rhythms along through the polyrhythmic leads leading to a bit of energetic riffing running along through the frantic final half for the album’s best track overall. Lastly, the Kaspar Torn remix of the title track focuses on industrial sounds over plodding rhythms as the vocal lines get carried over from the previous track while the clashing, atonal rhythms and ugly industrial sounds continue on through the finale for an utterly atrocious effort that has no business being here as it leads this with an utterly ugly lasting impression.

Though there’s one major misstep here in the way this one ends up, it’s still a fun enough example of this style that there’s a lot to like here for both fans of this droning style of death metal or themselves so long as the album’s flaws are taken into extreme consideration before listening.

Score: 55/100

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Abhorrent (US) - Intransigence

Artist: Abhorrent (US)
Release Title: Intransigence
Year: 2015
Label: Willowtip Records
Genre: Brutal/Technical Death Metal
Tracklisting:
1. Passage
2. The Elegance of Asymmetry
3. Ifrit
4. Reward System Malfunction
5. Clarity of Will
6. A Lightness of Mind
7. Ill-Conceived
8. Eternal Recurrence
9. Larva
10. Parasite

The debut effort from Texas brutal/technical death metal psychos Abhorrent features plenty of enjoyable yet somewhat formulaic takes on the merging of the two styles. With the brutality making the most impactful impression here, from the tight, raging rhythms and furious, swirling rif-work on display here there’s plenty to note here of this style which makes the album seem all the more technically challenging when it manages to make these seem all the more devastating by offering the kind of overwhelming musicianship that works nicely alongside that heavy chugging rhythms. This makes for a rather enjoyable time where it manages to mix them even further with challenging, complex riff-work that offers tight, brutally blistering rhythms alongside the fine drumming carrying that alongside its series of blasting charges that work really well together. There’s one seemingly glaring problem throughout this one as the album does tend to come off a little one-sided with it’s rhythms as the songs tend to blend together into a blur of tight chugging and blasting drum-work for the most part. As it goes along, it being so seemingly married to these bursts of tight rhythms and complex patterns that there’s a real loss of identity as it goes along just becoming an intermingling mess of riffing and blasting drumming that’s competent and challenging but really hard to focus on what’s going on. It’s really the one problem here as the rest of this has a lot to like.

The first half here starts this one off rather well. Instrumental intro ‘Passage’ offers an ambient sound collage amidst a sea of churning riffing leading into proper first track ‘The Elegance of Asymmetry’ featuring plenty of tight chugging riffing, dexterous drum-blasts and churning patterns keeping the unrelenting pace full of complex tempo changes and rhythm switches as the brutal blasting drumming brings the tempo changes into the final half for a strong opener. ‘Ifrit’ uses swirling technical patterns and charging drumming full of challenging arrangements utilizing tight, frantic patterns alongside the technically-challenging riffing charging into the swirling arrangements and brutal drum-work in the finale for another strong effort. ‘Reward System Malfunction’ utilizes churning rhythms and plenty of tight, blasting drumming that takes the challenging, complex patterns alongside the mid-tempo riff-work churning along through the series of swarming, churning rhythms blasting along through the final half for the album’s clear highlight offering. The mid-album instrumental breather ‘Clarity of Will’ brings deep, thunderous bass-lines and classical piano notes that offer a calming, relaxing air.

The second half is slightly below the first half but is still enjoyable enough. Leading from the previous track, ‘A Lightness of Mind’ features tight, blaring rhythms and plenty of technical swirling rhythms charging along throughout the plodding mid-tempo paces with the charging rhythms and blaring bass-lines holding the complex rhythms along into the tight finale for an enjoyable effort. ‘Ill-Conceived’ immediately blasts through tight patterns and chugging rhythms with plenty of frantic and complex arrangements making for a rather charging series of riffing patterns leading into the swarming solo section and chugging along into the complex final half for another solid and enjoyable effort. ‘Eternal Recurrence’ takes frantic mid-tempo chugging and complex riffing alongside the rattling drum-work utilizing plenty of tight, raging rhythms throughout the sprawling tempos charging along the mid-section with the aimless chugging and frantic drumming blasting along in the finale for a mostly bland effort overall. ‘Larva’ uses a light, extended acoustic intro before turning into tight, complex riff-work and dexterous, blistering drum-blasts taking the thumping rhythms along through the sprawling mid-tempo rhythms featuring the challenging riffing turning back into blistering drum-work for the final half into a stylish and enjoyable effort. Album-closer ‘Parasite’ takes a steady, sprawling rhythms and complex, blasting drum-work that soon settles into frantic, unrelenting riff-work alongside the explosive, challenging rhythms leading into the churning rhythms along throughout the steady tribal patterns leading through the finale for a solid lasting impression.

Though it can run into problems with itself later on where it takes way too much similarity with the different rhythms here, this is still an overall enjoyable amount of brutality and technicality that manages to make this one a band to watch for fans of either style or fans of extreme metal in general.

Score: 83/100

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The King Must Die - Sleep Can't Hide the Fear

Artist: The King Must Die
Release Title: Sleep Can't Hide the Fear
Year: 2014
Label: Self-Released/Independent
Genre: Thrash Metal
Tracklisting:
1. Confidential Confidence
2. Your Grip Is
3. No Forgiveness
4. The Mountains Wept
5. This Invisible Disease
6. The Birth of War
7. Treacherous and True
8. Notongue
9. Fall of Man
10. You Know This
11. Sinthetically Wasted
12. This Day This Life

The debut album from California thrashers The King Must Die offers a rather decent and enjoyable style here that’s enjoyable if not entirely all that memorable. Based heavily on fiery, churning riff-work and a stylish Bay Area centerpiece when it comes to the rhythms, there’s a decidedly enjoyable set-up here that does at the least come off as enjoyable about what it really wants to do here in regards to it’s energetic rhythms running through it’s tracks. Even when it settles for mid-tempo swirling rhythms and choppy, pounding drumming, there’s a sense here that the music is enjoyable and engaging without really going for the knockout blow that would be required here to let the music get that fast, intense quality that’s seemingly based upon the riffing and pounding rhythms featured. The music here seems to be stuck in a second-gear compared to what it really seems capable of, and there’s enough moments of teasing that possibility here that it seems entirely possible that’s the case here where it could’ve let loose with those up-tempo patterns that are seemingly just lurking just beneath the surface of the songs. A minor off-shoot of that comes from this one being slightly overlong with too many tracks and falling into the same repeated tempos and patterns due to having a few too many songs here, but for the most part this one isn’t as detrimental and problematic.

The first half here is an enjoyable idea of what’s to come here. Opener ‘Confidential Confidence’ features steady riffing and a series of thumping up-tempo drumming running through a rather energetic mid-tempo series of thumping rhythms with screaming, frantic leads throughout the solo section and keeping the dexterous drumming into the tight finale for a really enjoyable opening effort. ‘Your Grip Is’ uses thumping drumming and energetic rousing riff-work moving along through engaging mid-tempo patterns as the swirling riff-work keeps the stuttering rhythms along through the sterling solo section and keeps the stuttering rhythms along into the final half for a decent if still enjoyable offering. ‘No Forgiveness’ takes a swirling series of thumping rhythms and tight, pounding drumming charging along at a steady mid-tempo pace as the steady riffing along into the rousing, fiery solo section and taking using the sprawling rhythms along into the finale for a fun effort overall. ‘The Mountains Wept’ features thumping, high-energy drumming alongside heavy, swirling riff-work generating a solid mid-tempo charge as the pounding drumming keeps the steady pace alongside the tight series of thumping riffing leading into the steady, pounding final half for a much stronger effort.  ‘This Invisible Disease’ uses strong, dexterous drumming and churning rhythms with tight and frantic leads throughout the stuttering rhythms leading to the fiery solo section and keeping the dexterous drum-work and pounding paces into the finale for another strong, enjoyable thrasher. The short and brutal ‘The Birth of War’ takes strong, swirling rhythms and tight drum-work along through the rousing, engaging rhythms full of thumping patterns with the swirling leads around the solo section and on into the rabid final half for a biting, blistering highlight.

The second half is another highly enjoyable part of the album. ‘Treacherous and True’ slowly builds into a steady mid-tempo series of thumping rhythms with swirling lead-work as it settles on the thumping charging pace throughout a moody, atmospheric solo section with tight rhythms carrying along into the steady, heavy finale for a fun track. ‘Notongue’ works through a steady, mid-tempo series of thumping rhythms with plenty of pounding drumming and mid-tempo paces that fires off a strong series of tight, urgent rhythms along through the dynamic solo section and offering up plenty of tight patterns along the final half for a steady, enjoyable if unspectacular effort. ‘Fall of Man’ utilizes thumping drumming and sparkling mid-tempo riffing with a steady pace rolling along into a simplistic series of swirling riffing with the fiery riff-work bringing along a more intense series of patterns into the solo section and continuing on through the thumping finale for an enjoyable and rousing highlight. ‘You Know This’ immediately takes the pounding drumming and steady riff-work along through a rousing series of up-tempo patterns with plenty of dexterous, thumping drumming carrying on through the energetic solo section and keeping the steady, up-tempo final half for another high-energy affair. ‘SINthetically Wasted’ features pummeling drumming and swirling thumping rhythms along through the steady mid-tempo charging that brings the strong riffing along through the churning solo section and bringing back the thumping, pounding rhythms along through the rousing finale for a decent enough effort that gets far better as it goes along. Finally, ‘This Day This Life’ uses simple pounding rhythms alongside swirling, churning drumming that keeps the fiery, energetic riff-work running along through the churning up-tempo paces keeping the thumping energy along through the solo section and along into the rousing final half for a rather enjoyable lasting impression.

Certainly not a debut that will set the thrash world on fire, there’s still enough fun spots here that make it a solid enough offering for those less judgmental thrash fans who will uphold this one’s positives more readily than others who may find those negative parts a bit too overwhelming to take.

Score: 82/100

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The King Must Die - Murder All Doubt

Artist: The King Must Die
Release Title: Murder All Doubt
Year: 2016
Label: Self-Released/Independent
Genre: Thrash Metal
Tracklisting:
1. Well Being
2. In Blood
3. Murder All Doubt
4. A New Hell You Embark
5. Choose Them Wisely
6. Reflection Spills
7. Broken
8. The Only Way We Bleed
9. For This We Live
10. These Later Years

The second album from California thrashers The King Must Die is a stylistically similar and ultimately enjoyable effort that follows the same route as the predecessor. This is still based heavily on fiery, churning riff-work and a stylish Bay Area centerpiece when it comes to the rhythms, and there’s still a decidedly enjoyable set-up here that does at the least come off as enjoyable about what it really wants to do here in regards to it’s energetic rhythms running through it’s tracks. As well, this fiery rhythm-work is given  a solid counterpoint when it settles for mid-tempo swirling rhythms and choppy, pounding drumming, all coming together into a cohesive showcase. Again, being so similar in style and execution is a minor problem as there’s a sense here that the music is enjoyable and engaging without really going for the knockout blow that would be required here to let the music get that fast, intense quality that’s seemingly based upon the riffing and pounding rhythms featured. The music here seems to be stuck in a second-gear compared to what it really seems capable of, and there’s enough moments of teasing that possibility here that it seems entirely possible that’s the case here where it could’ve let loose with those up-tempo patterns that are seemingly just lurking just beneath the surface of the songs. This does fix the one minor issue from the first one as the over-bloated song-length is fixed with a more manageable track-order which gives it a slight nod over the debut but the same issues cropping up is a little troubling.

The first half here is an enjoyable piece of thrash. Opener ‘Well Being’ features rumbling, dexterous drumming and churning riff-work with plenty of sterling lead rhythms carrying along through the energetic patterns as the tight technical rhythms keep the bouncing energy along through the sprawling solo section into the final half for an enjoyable opening effort. ‘In Blood’ uses ferocious charging riffing and dynamic rolling drumming settling into a fine mid-tempo crawl as the charging drumming keeps the charge through a strong series of swirling up-tempo rhythms into the fiery solo section and keeping the up-tempo rhythms into the finale for another strong effort. The title track takes the strong, dexterous drumming and fiery riffing through a rousing mid-tempo charge with plenty of fiery melodic flurries along through the tight thumping series of mid-tempo rhythms along through the solo section and carrying through the final half for a rousing and decent enough effort. ‘A New Hell You Embark’ uses plenty of tight, mid-tempo thumping rhythms full of sprawling riff-work and plodding tempos as the rather low-key patterns give way to a rousing series of riffing into the up-tempo solo section and keeping the energy into the finale for a decent if unspectacular effort that gets better as it goes along. ‘Choose Them Wisely’ takes a strong series of rumbling drumming and tight riff-work through a series of pounding rhythms that keep the up-tempo rhythms along through the strong series of thumping patterns keeping the pounding drumming and fiery riffing into the final half for a rather fun highlight.

The second half being set-up much like the first half makes it enjoyable as well. ‘Reflection Spills’ slowly works through a slow-building intro into a steady, mid-tempo series of swirling riffing and plodding drumming keeping the thumping, plodding paces along throughout the churning mid-tempo rhythms continuing along through the steady, swirling riffing of the finale for an overlong and rather unimpressive effort. ‘Broken’ features plenty of thumping mid-tempo series of riffing alongside rather energetic and pounding drum-work keeping the thumping mid-tempo paces along throughout the pounding mid-tempo patterns and churning riff-work leading through the thumping solo section and on through the final half for another strong, engaging track. ‘The Only Way We Bleed’ utilizes thumping patterns and plenty of swirling riff-work along throughout a stuttering mid-tempo charge that keeps the strong riffing along into the strong and charging series of churning riffing into the steady mid-tempo rhythms in the  charging finale for another strong effort. ‘For This We Live’ utilizes urgent thumping riffing and pounding dexterous drumming with plenty of tight, urgent rhythms keeping rather frantic rhythms along into the strong series of sprawling patterns into the solo section and keeping the up-tempo thrashing rhythms into the final half for a decent enough effort. Finally, album-closer ‘These Later Years’ features a series of thumping drumming and steady, mid-tempo drumming that keeps the steady rhythms along into a rousing series of up-tempo drumming and plenty of tight riffing keeping the rousing energy through the up-tempo solo section and along through the finale for another strong lasting impression.

Much like with their previous album, this one tends to run along through much the same work and doesn’t really offer up much of any kind of stylistic or dramatic improvements which leaves this one much the same as it’s predecessor in being more for devout thrash enthusiasts for the most part.

Score: 83/100

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Антиллия (Antilla) - Древние силы (Ancient Forces)

Artist: Антиллия (Antilla)
Release Title: Древние силы (Ancient Forces)
Year: 2015
Label: Self-Released/Independant
Genre: Symphonic Power Metal
Tracklisting:
1. Последний звездопад (Last Starfall)
2. Тайна (Mystery)
3. Рассвет (Sunrise)
4. Штурм (The Assault)
5. Смертный бой (Mortal Fight)
6. Свечи (Candles)
7. Древние силы (Ancient Forces)
8. Шаман (The Shaman)
9. Одиночество (Loneliness)
10. На краю света (At World's End)
11. Пленённый бессмертием (Captivated By The Immortality)
12. Антиллия (Antillia)
13. Вселенная (Universe)
14. Эпилог (Epilogue)

The debut full-length from Russian symphonic power metallers Антиллия (Antilla) offers a nice, well-rounded display of styles that certainly makes them seem poised to become the leader of the movement. From the outset this release tends to favor far more modern styles of the genre where the expressive keyboards adopt more of a cinematic style that lends itself to feel at home scoring an epic fantasy battle sequence with the overall style on display. It’s bombastic, majestic and grandiose sweeping arrangements give this a rather heavy tone here where it tends to recreate the dramatic energy and emotional resonance alongside the generally explosive power metal riff-work where this one manages to utilize all the prototypical patterns where it tends to either spend the majority of the time either featuring those impeccable speed-metal riffing styles that allow this to fly along at dynamic, up-tempo speeds or the crushing mid-tempo chugging variant that leaves this rather dynamic style quite nicely alongside the rest of the riff-work on display. Even getting the kind of dueling vocal patterns featured here where there’s plenty of grandiose fun to come from the operatic leads from both the male and female vocalists this leaves the album with plenty to like overall. Though this is the case, it does seem to stumble from minor flaws in the sense of basically feeling bloated with too many songs here that it can feel like a struggle to get to the finishing line at times. Getting there based on the fact that there’s several tracks on the later half that goes for the same overall mid-paced plodding without changing up the tempo or playing order leaves with a rather familiar air as it makes it’s way throughout here where it really does get to the point of feeling overdone without much reason to. The ambition on a debut does get them a free pass here, but the quantity could’ve been scaled back slightly to great effect here.

The first half here gives a solid impression of what to expect here. Opener ‘Последний звездопад (Last Starfall)’ takes a grandiose intro turning into a series of sweeping keyboards and charging riff-work blazing with dynamic drumming and operatic vocal choirs over the pummeling, chugging chords taking the majestic, grandiose rhythms thumping along into the solo section sweeping along to raging final half for an utterly spectacular opening impression. ‘Тайна (Mystery)’ uses a moody acoustic intro and melancholy riffing leaving a haunting feel that settles nicely into a chugging mid-tempo feel with majestic keyboards over the rumbling rhythms keeping the steady pace in check through the series of romantic leads carrying along into the solo section and into the finale for another fine effort. Brief interlude ‘Рассвет (Sunrise)’ offers cinematic clanging drumming that sets the stage for ‘Штурм (The Assault)’ that  takes rousing drumming and grandiose thrashing rhythms full of bombastic driving keyboards keeping the energetic riff-work tightly wound to the raging drumming and pounding rhythms chugging along to the up-tempo paces into the solo section and leading through the light acoustic-driven final half for another solid effort. ‘Смертный бой (Mortal Fight)’ takes a steady series of bombastic rhythms and grandiose keyboards that swell into a stylish swirling pace with the chugging riffing staying along with the thumping drumming and majestic, operatic keyboards charging along into the mid-paced finale for a strong, powerful effort. ‘Свечи (Candles)’ features a steady chugging intro with plenty of swirling keyboards over the plodding mid-tempo operatic rhythms sweeping through the majestic keyboards and flowing alongside the pounding drumming with the grandiose keyboards keeping the plodding majestic paces in check through the final half for an enjoyable enough effort. Another brief interlude
‘Древние силы (Ancient Forces)’ simply features bombastic choirs and pounding cinematic drumming throughout.

The second half does come up a little short but still has some quality within it. ‘Шаман (The Shaman)’ utilizes scorching riffing and bombastic drumming driving along to a furious up-tempo pace with the driving rhythms holding the scorching cinematic melodies through the charging atmosphere with the utterly blistering drumming carrying the urgent rhythms along into the blazing solo section and keeping the raging leads through the finale for another spectacular highlight offering. The ballad ‘Одиночество (Loneliness)’ features impassioned, romantic piano lilting over light, melodic riffing as the romantic vocal trade-offs hold the simple, breezy patterns into the lighter piano-driven pattern through the final half for a decent enough if utterly skippable track. ‘На краю света (At World's End)’ brings it back to the blistering drumming and grandiose keyboards raging through the churning mid-tempo rhythms against the operatic vocals and the barreling drumming making for the symphonic battles against the thumping chug-laced riffing into the sol section and continuing into the blistering finale for another strong highlight. ‘Пленённый бессмертием (Captivated By The Immortality)’ features strong dexterous keyboards swirling along through the cinematic rhythms as the keyboards drop into a strong chugging riff-work with pounding drumming carrying through the majestic patterns of the steady final half for an enjoyable effort. ‘Антиллия (Antillia)’ uses rolling drumming and bombastic keyboards into a stellar mid-tempo pace full of thumping rhythms with the plodding riff-work carrying through the bombastic keyboards with plenty of strong majestic keyboards holding through the solo section and into the finale for an enjoyable enough effort. ‘Вселенная (Universe)’ uses the extended sampled intro to lead into plodding, rhythmic drumming and steady, mid-tempo chugging riffing that holds the bombastic symphonic vocals soaring operatically over the steady build back into dramatic mid-tempo rhythms and pounding drumming that carries on through the final half for a stylish effort overall. Finally, album-closer ‘Эпилог (Epilogue)’ takes the bombastic and swirling cinematic rhythms along throughout for an enjoyable finishing touch to make for a solid lasting impression.

Offering up enough enjoyable elements to really make an impression despite a few missteps here and there, overall it ends leaving this one as a rather enjoyable and somewhat notable act to follow for fans of this bombastic, cinematic style of power metal or just undiscerning power metal fans in general.

Score: 88/100

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http://assorti-market.ru/catalog/view/14845

Sudden Death (It) - Monolith of Sorrow

Artist: Sudden Death (It)
Release Title: Monolith of Sorrow
Year: 2014
Label: Deadbang Records
Genre: Brutal Death Metal
Tracklisting:
1. Intro - A New Strategy of Terror
2. Blood Wings
3. Cancer of a World Condamned to Die
4. Monolith of Sorrow
5. Toxic Devourment
6. Inhuman Lycanthropic Lust
7. Vomit
8. Reanimator
9. Dressed by Flesh to Cover the Darkness

The third full-length from Italian brutal death metallers Sudden Death shows that decade-long lay-off was for the best with an utterly explosive, dynamic offering. Though initially appearing from the onset like any normal brutal death metal offering, there’s a few slight small tweaks to the formula that stand-out here which starts with the riff-work. Starting with the frantic, tight and blistering death metal rhythms, there’s plenty of furious and unrelenting tempos ranging along throughout the tracks here as this one tends to really favor the high-speed formula here and making the tracks even more impressive. Being able to utilize a scattered few series of breakdowns as well as slams and managing to deftly maneuver along a few other pacing and tempo changes to further complete the picture, this one features a slew of high-energy yet still unrelentingly brutal guitar-work that makes for a great time. Perhaps making it even more impressive is that the deep, heavy production job smeared across the tracks keeps it all sounding truly massive and pulverizing while still allowing for the dynamics to be truly apparent whenever they occur. Letting the pulverizing drumming and twangy bass-lines get prominence throughout here as well is another truly strong factor in here and manages to truly pound out a series of impressive dynamic rhythms here. It does tend to rely too much on sampled movie intros for many of the songs, but overall it’s a minor quibble against this one.

The first half here sets the stage for what’s to come incredibly well. The instrumental ‘Intro - A New Strategy of Terror’ offers a sampled movie scene before turning into a furious mix of tight, brutal riffing and pounding leads setting the proper first track ‘Blood Wings’ featuring plenty of tight, crunchy rhythms and pounding drumming full of scorching leads and feverish riffing bringing along plenty of blistering rhythms and frantic drumming diving throughout the final half for a wholly impressive offering.  The utterly blistering ‘Cancer of a World Condemned to Die’ blasts through utterly blistering full-throttle riffing thrashing along to pounding drumming and frantic riffing keeping the furious rhythms along through the breakdowns and slams into the tightly-woven riffing in the thrashing finale for a raging highlight effort. The title track takes a gradual build-up to a tight, chugging series of breakdowns before letting the mid-tempo riffing through the main rhythms with the change-over into a strong series of dexterous drumming and tight, swirling riffing chugging along through the tight, frantic finale for another solid effort. ‘Toxic Devourment’ features a sampled intro before turning into a tight, feverish burst of swirling, technical rhythms and dexterous drumming featuring plenty of heavy slams and deep, heavy riff-work throughout the tight breakdowns with the solo section leading the urgent rhythms into the final half for another solid highlight.

The second half here is much like the first half overall. ‘Inhuman Lycanthropic Lust’ uses an extended sampled intro before turning into a series of tight, frantic mid-tempo riffing alongside swirling slams and dexterous drumming that settles into unrelenting blasting drumming and ferocious rhythms with plenty of tight riffing into the sol section through the finale for another wholly impressive highlight. ‘Vomit’ immediately blasts through tight, mid-tempo riffing and plenty of pounding drumming with the change-over into fevered breakdowns and slams hitting through the deep, heavy riffing and blasting drumming that leads through the solo section and carrying the urgent riff-work through the twisting final half for an enjoyable and frantic effort. ‘Reanimator’ uses the extended movie-sample intro to turn into a series of ferocious, swirling riffing and blasting drumming with intense rhythms and tight, blistering drumming carrying the urgent patterns alongside the battering drum-work keeping the intensity raging into the finale for a rather enjoyable effort. Lastly, album-closer ‘Dressed by Flesh to Cover the Darkness’ features brutal, unrelenting swirling riff-work and pounding, dexterous drumming through explosive, fraying tempos that soon settles on tight breakdowns before returning to the frantic and explosive up-tempo chugging featuring plenty of furious riffing throughout the final half into an impressive lasting impression.

While this one comes complete with one utterly inconsequential but still noticeable flaw that keeps this down ever so slightly from where it could’ve been, this is still undoubtedly one of the top examples of the style in the whole scene making this an indisputable addition to any fanatic of brutal death or extreme metal in general.

Score: 97/100

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https://suddendeath666.bandcamp.com/album/monolith-of-sorrow

Skurk - Final Gift EP

Artist: Skurk
Release Title: Final Gift EP
Year: 2014
Label: Inconsistency Records
Genre: Thrash Metal
Tracklisting:
1. Ruler
2. Final Gift
3. Darkness
4. Dead Again
5. Chaindead
6. My Friend, the End

The debut EP from Icelandic thrashers Skurk offers up some intriguing moments along the way but isn’t all that impressive for what it could’ve been. Considering the band has been active since the early 90s, the basic fringe of Bay-Area riffing is predominant throughout here with the gruffer sheen usually afforded to the European scene, it comes off as a rather faithful tribute that at times doesn’t really offer too much variety and keeps things pretty one-note. There’s a lot to like about it when the band really thrashes out and lets themselves go which lets their churning riff-work, dexterous drumming and hard-hitting approach generate some rousing, energetic thrash but the fact that there’s some sluggish work here does hinder this part somewhat. It’s being tied up in these rhythms where there’s mid-tempo churning rhythms running throughout here that it tends to come off rather low-key and plodding without much going for it, and the fact that they’ve been around this long is what makes that so troubling as it seems to be a case where they should’ve known better to leave these sluggish patterns on display here. Still, this one doesn’t feel too disappointing with the good tracks still popping up here.

Overall this one wasn’t all that bad as the tracks were quite fun. Opener ‘Ruler’ features an extended ambient intro that turns into a groovy mid-tempo swirling riff-work with pounding rhythms carrying the bulging energetic riffing alongside the dexterous and pounding drum-work as the clanging grooves continue on through the finale for an enjoyable opening effort. The title track offers a melodic acoustic intro slowly turning into mid-paced churning riff-work that keeps the steady mid-tempo pace through the series of swirling riff-work with a rousing energetic solo section full of dynamic patterns continuing on through the final half for another enjoyable effort. The epic ‘Darkness’ uses a series of thumping mid-tempo grooves and plenty of plodding rhythms from the stuttering riff-work alongside the tight drumming as the tempo shifts into a slightly more energetic affair with swirling melodic leads throughout the solo section and leading through the plodding finale for a decent if overlong effort. ‘Dead Again’ uses a thumping series of mid-tempo chugs with a strong twist into raging riff-work and utterly frantic drumming that keeps the tight, intensely wound rhythms carrying along through the raging tempos continuing along through the solo section and into the final half for a clear-cut highlight offering. ‘Chaindead’ features mid-tempo churning riff-work and plodding rhythms with sluggish drumming and rather simple rhythms keeping the lethargic and dull pace completely held back as the solo section attempts to keep the energy going through the plodding finale for a wholly bland worthless track. Lastly, album-closer ‘My Friend, the End’ slowly fades into a thumping series of tight drumming and swirling leads that turns into rabid, thumping thrashing leads with pounding drumming carrying along through the scorching solo section and continuing through into the raging final half for a fine lasting impression overall.

Though it doesn’t really overwhelm the way it should’ve for a group that’s supposedly been around as long as they have, yet there’s still enough positive elements on display that it remains at the very least listenable for the most devout and hardcore thrash enthusiasts who will enjoy this the most.

Score: 76/100

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http://skurkmetal.bandcamp.com/releases

Murder Made God - Enslaved

Artist: Murder Made God
Release Title: Enslaved
Year: 2016
Label: Comatose Music
Genre: Brutal/Technical Death Metal
Tracklisting:
1. Victims
2. Enslaved
3. Titan
4. A Morbid Institution
5. Depression
6. Assassines!
7. The Irony of Faith
8. Subject666
9. Urban Warfare
10. Involuntary Servitude

The second full-length from Greek brutal/technical death metallers Murder Made God continue on with another stand-out release offering plenty of enjoyable extreme metal. Putting on a clinic with insanely tight, challenging riff-work that drops through numerous tempo changes, rhythm deviations and even wholesale riff-qualities that whip and dive-bomb constantly here, it brings out a technically-complex assortment of attack here that gives this a strong variety on top of showcasing utterly pummeling work throughout here. Offering the chance to go for mid-tempo crushers loaded with chugging grooves and heavy-hitting breakdowns or searing blasts loaded with driving stuttering chords and mechanical drum-patterns full of blistering speed, this one tends to run the full gamut of extremity in the genre all the while utilizing utterly complex, challenging arrangements that run throughout the tracks here. The brutality of this kind of tight, raging material gives it an extra dose of extremity alongside all the technicality and varied dynamics featured within here, and overall there’s just so much to like about the attack here going with the vice-tight rhythms featured. Though this one does get a little caught up in the sterile-production job that makes everything sound too mechanical rather than natural, especially the drumming that’s too obviously triggered, it’s not that big of an issue to hold this down.

The first half here gives this a strong idea of what’s on display here. Opener ‘Victims’ features utterly schizophrenic riffing with plenty of blistering drumming weaving throughout strong, mechanical patterns as the tight, complex rhythms charge along at ferocious paces changing rhythms throughout into the final half for an utterly explosive opening effort. The title track features blazing mechanical drum-work and continuous sweeping riff-work carrying on through the tight, frantic patterns here with the stuttering rhythms allowing for a series of breathers between the rampaging chaotic riffing through the finale for another fun effort. ‘The Titan, The Fighter and The Thief’ features utterly blistering drumming and swirling complex rhythms throughout the stuttering, angular patterns throughout with the brutal cyclone of razor-wire technically-complex riffing taking the mechanical stuttering arrangements into the final half for a stellar beating overall. ‘A Morbid Institution’ uses complex rhythms and technically-challenging rhythms stuttering through urgent patterns rumbling along through the urgent grooves and blistering drumming carrying on through the swarming riffing along throughout the complex, raging finale for another overall strong effort. ‘Depression’ utilizes thumping rhythms and mid-tempo riffin swirling through complex patterns chugging along with plenty of challenging leads blistering through the stuttering arrangements chugging through the breakdowns piled on top of each other in the final half for a solid and serviceable effort.

The second half here is almost exactly like the first half here. ‘Assassines!’ blasts through frantic riffing and pummeling drumming with tight, mechanical waves throughout the tight series of challenging, complex stuttering grooves leading along the blasting drum-work carrying the swirling, stuttering riffing into the finale for a strong, serviceable track. ‘The Irony of Faith’ takes thumping grooves with stuttering technical riff-work grinding along through explosive tempo changes featuring plenty of complex rolling patterns with swirling complex riffing alongside the mechanical blasting drumming blistering through the chaotic final half for another strong highlight. ‘Subject666’ uses blistering drumming and charging technical riff-work into a stellar up-tempo pace filled with utterly pummeling rhythms full of complex, twisting riffs and mechanical drumming stuttering through the tight chugging grooves in the frantic finale for an enjoyable effort. ‘Urban Warfare’ features rumbling rhythms and plenty of tight, thumping rhythms with plenty of sprawling technical rhythms with a stuttering mid-tempo groove chugging along to the blasting drumming winding through the complex sweeping riffing surging through the final half for another solid effort. Finally, album-closer ‘Involuntary Servitude’ blasts through utterly intense rhythms with plenty of tight, frantic patterns and tight, thunderous drumming filled with mechanical complex blasts as the raging riffing keeps the tight rumbling breakdowns in line through charging, complex patterns in the finale for a solid, enjoyable finish.

An overall impressive and highly engaging effort here, there’s enough to work here that ends up giving this one a varied, dynamic attack that gives this plenty to like which makes this a solid choice for those who appreciate this destructive kind of death metal or fans of brutal, complex music that gets featured here.

Score: 94/100

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http://www.comatosemusic.com/store/product_info.php?%20cPath=56&products_id=6032

The Beast of Nod - Arrival EP

Artist: The Beast of Nod
Release Title: Arrival EP
Year: 2016
Label: Self-Released/Independent
Genre: Death Metal
Tracklisting:
1. The Beast Awakens
2. Cephalopod of Doom
3. When a Meganeura Flies
4. Ascension
5. Hyperanal Hemorrhaging

The second EP from Boston death metallers The Beast of Nod offers a wholly enjoyable and somewhat engaging take that comes off highly enjoyable here. Though not inherently technical by any means, the album does seem based very heavily on technical death metal rhythms and challenging riff-work which is run through a deep, heavy series of rhythms that make this sound far more like traditional death metal. This is heavily appealing with the facet of keeping the material churning through various rhythms and tempo-changes that come off in very dynamic terms with that classic churning rhythm running throughout here, and coupled with the tight, blasting drumming it features some very appealing work throughout here. The problem with it all seems to stem from what is common-place throughout most EPs in that it tends to end far quicker than what the listener would like, seeming to stop just when it’s getting good as the effort offers up some absolutely killer tracks at the very end only to suddenly get cut off, and it leaves a somewhat disappointing feel when it could’ve very easily let this kind of solid material run along for a few more tracks. That’s really all that seems to be holding this one back as the group could be absolutely dynamic given a full-length effort.

Though it’s an EP without a lot of tracks present doesn’t mean there’s not a lot to like here. Instrumental intro ‘The Beast Awakens’ takes a series of swirling riffing and pounding drum-work along through a gradual build-up full of technical patterns into proper first track ‘Cephalopod of Doom’ offering swirling grooves and pounding drumming through stuttering, technical patterns thumping along with swarming rhythms holding the technical patterns along through the blasting tempo change into thumping up-tempo rhythms full of technical riffing running through the final half for a solid opening impression combined. ‘When a Meganeura Flies’ uses a melancholic intro with blasting drumming carrying along through the swirling series of technical riffing stuttering along through the strong series of thumping rhythms holding through into the blazing series of tight patterns and thumping drumming in the finale for another strong effort. ‘Ascension’ fades in with rumbling drumming and droning riff-work keeping a tight, steady mid-tempo pace throughout the stuttering, technical rhythms swirling throughout the simplistic charge along the steady, lurching rhythms continuing throughout the solo section in the final half for another strong effort. Lastly, album-closer ‘Hyperanal Hemorrhaging’ immediately blasts through swirling riff-work and plenty of tight, raging rhythms through the buzzing riffing alongside the pounding drumming that takes frantic, furious patterns throughout the solo section and firing away with plenty of furious tempos throughout the finale for another strong effort here that ends this on a truly high note.

Overall this was a highly enjoyable and satisfying effort that doesn’t really have much wrong with it beyond the sudden stop of quantity just when it’s getting rather enjoyable, which is the case with most EPs and doesn’t really hinder the fact that this makes for a nice group to keep an eye on for those who enjoy more modern-sounding death outfits.

Score: 89/100

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http://thebeastofnod.bandcamp.com/album/arrival

Protector - Cursed and Coronated

Artist: Protector
Release Title: Cursed and Coronated
Year: 2016
Label: High Roller Records
Genre: Thrash Metal
Tracklisting:
1. Intro
2. Xenophobia
3. Selfdesdrugtion
4. Crosses in Carelia
5. Cursed and Coronated
6. Six Hours on the Cross
7. Base 104
8. The Dimholt
9. To Serve and Protect
10. Terra Mater
11. The Old Boil

The sixth full-length from legendary German thrashers Protector carries on their legacy incredibly well with another strong effort to prove their reunion wasn’t in vain. Indeed, it seems as though the band never actually left in the first place with their tight, intense thrashing a part of the sound here which brings back the tight, thumping riff-work and stylish, technical punk-laced riffing all augmented by a darkened, black metal aesthetic that’s been at the forefront of the German style of thrash from the get-go. As this  set-up allows for the inclusion of raging speedsters as well as energetic mid-tempo gallops, this makes for a slightly varied attack that still comes off incredibly focused and coherent with each other and gives this an even better feel throughout here as the tracks all logically flow through each other rather than just making a series of different-sounding tracks simply to show off the diversity of their skills. Even when it goes for that route, as in the slightly doom-filled sections or even sprawling melodic interludes there’s still a connection between it all and it makes for an even more engaging listen that all goes together like they did in the band’s heyday.

The first half gives this a strong idea of what’s on display here. The instrumental ‘Intro’ features tribal chanting and rather simplistic beats throughout with a rather driving atmosphere that sets up proper first track ‘Xenophobia’ that blisters through frantic up-tempo riffing and plenty of complex, twisting drumming that works along that savage pounding thrashing framework with plenty of frenzied thrashing along with the urgent pounding rhythms continuing through the final half for an utterly impressive start here. ‘Selfdesdrugtion’ brings along thumping drumming and plenty of swirling riffing with the rumbling bass-lines bringing along the thumping mid-tempo thrashing carrying through the steady paces as the rumbling patterns continue through the solo section into the finale for a fun effort. ‘Crosses in Carelia’ takes stellar mid-tempo thumping with tight mid-tempo riffing taking on sprawling, darkened arrangements with the blasting drumming holding the rhythms for the frantic blasting and urgent thrashing interludes leading through the final half for a spectacular highlight. The title track begins with a swirling melodic riff that turns into a sprawling mid-tempo rhythms with plenty of crushing, heavy doom-styled riffing swirling along to the thumping drumming within the darker atmosphere into the solo section and on through the finale for the weakest track thus far but still has a lot to like about it.‘Six Hours on the Cross’ opens with swarming dive-bombing riffing and rocking drumming holding the blistering rhythms along through the thumping thrash paces with the tight, thumping sections carrying the sweeping riffing along through the charging final half for another solid, enjoyable effort.

The second half here is stronger than the first half in the same style. ‘Base 104’ blasts through utterly intense drumming alongside furious thrashing rhythms with plenty of up-tempo riff-work bringing the darkened atmosphere along into an extended sprawling mid-section before bringing back the blistering thrash rhythms and sweeping riffing in the finale for a stand-out highlight. ‘The Dimholt’ takes a stylish up-tempo series of swirling thrash rhythms charging along through the utterly frantic blistering drumming carrying the ravenous riffing careening through the thumping, full-throttle rhythms carrying on through the solo section and into the final half for back-to-back highlights. ‘To Serve and Protect’ features tight mid-tempo thumping rhythms and a stellar series of pounding drumming that carries the thrashing rhythms along through the extended instrumental interludes carrying the riffing along into fiery solo section and on into the thumping finale for an enjoyable enough effort. ‘Terra Mater’ takes utterly explosive and frenzied drumming along through the explosive thrashing riff-work charging along through the series of thumping thrash rhythms carrying on through the fiery solo section and into the charging final half for another enjoyable effort. Lastly, ‘The Old Boil’ takes a rocking series of mid-tempo drumming and rather exciting thrashing riffing with rather exciting and explosive patterns keeping the stylish rhythms intact through the up-tempo raging throughout the tight finale to end this on a strong note.

It seems the reunion is certainly a worthwhile endeavor now as this is two stellar releases in their catalog now for the group and comes off just like their glory days in the late 80s, making this an essential choice for old-school thrash fanatics, fans of the darker German sound in general or even those looking for a solid, consistent outing in the genre.

Score: 94/100

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http://www.hrrshop.de/PROTECTOR-Cursed-and-Coronated-CD_1

Fireleaf - Behind the Mask

Artist: Fireleaf
Release Title: Behind the Mask
Year: 2016
Label: Massacre Records
Genre: Power Metal
Tracklisting:
1. Bloody Tears
2. Monsterman
3. Faceless
4. Forgiven
5. Death Throes
6. The Quest
7. Isolation
8. Tales of Terror
9. King of Madness
10. Behind the Mask

The debut from German power metallers Fireleaf features an impressive roster leading their brand of fiery German-tinged power metal to the fullest. As with most of these German power metal acts, there’s a strong heavy-metal base on display here that wraps itself through most of the work here. Strong, powerful and simplistic riffing based on thudding chug-patterns which make for a solid base here to extend outward for a healthy sprinkling of power metal melodies into the fray while also providing this with plenty of steady influence throughout the album. Though this tends to come off nicely enough for most of the album, there’s the fact that most of the album seems to be stuck in tempos and paces that don’t show off that kind of work as often as it should. This is the main element that really keeps this one from where it should be as it’s quite slow-going far more often than not, keeping this one feeling sluggish and chugging-based rather than really letting the speed get shown off. It’s not surprising that the faster tracks showing off their style are the album’s best efforts, so when it strays to the slower tempos there’s a noticeable shift in quality.

The first half here is a solid way to get this going. Opener ‘Bloody Tears’ storms out with a tight, pounding series of rhythms with heavy, mid-tempo chugging riff-work and steady, powerful drumming thumping along to the steady riffing and heavy rhythms plodding along to the sterling melodic melodies flowing throughout the finale for a strong opener. ‘Monsterman’ features heavy chugging and stuttering riff-work through a series of plodding, thudding rhythms throughout a steady, straightforward pace with lifeless riffing into the lively and fiery solo section that carries on through the final half for a mostly dull effort with scattered enjoyable spots within. ‘Faceless’ takes a steady, chugging-heavy approach as the melodic strikes continue on through a simplistic, straightforward pace with sluggish riffing full of chugging riff-work augmented by the sterling melodies flowing throughout the solo section and on through the finale for a slightly-better and more enjoyable effort. The ballad ‘Forgiven’ features a light, romantic piano melody and soft thumping rhythms throughout swirling throughout the grandiose melodies alongside the lightly-paced rhythms throughout leading into the romantic final half for a pleasing variation of the style. ‘Death Throes’ brings lively melodic riffing and pounding rhythms with an energetic up-tempo pace full of swirling speed-metal runs alongside the mid-tempo crunch that weaves through the fiery solo section and carries through the pounding and engaging finale for a solid highlight effort.

The second half has a little more to go on but features enough to like. ‘The Quest’ features a steady building intro with fine melodic flurries and simplistic drumming featuring straightforward riffing and thudding chugging riff-work throughout the simplistic pace that leads through the solo section and on through the final half for a solid-but-thoroughly bland effort overall. ‘Isolation’ uses a fiery mid-tempo melody and plenty of tight speed-metal rhythms offering a heavy base with the tight rhythms full of simplistic drumming alongside the heavy churning riffing throughout the stellar solo section on through the finale for a highly enjoyable highlight. ‘Tales of Terror’ uses a thumping series of swirling riff-work around a mid-tempo pace with plenty of chugging patterns alongside the full series of melodic flurries alongside the tight patterns through the solo section and continuing on through the final half for another strong effort. ‘King of Madness’ features a tight, plodding mid-tempo chug with simplistic rhythms throughout the sluggish pace as the dynamic solo section kicks up the energy that continues on with the tight swirling chug riff-work through the finale for a decent-if-unappealing effort. Lastly, the epic closing title track features a spoken-word intro before turning into a solid mid-tempo chug with lively heavy rhythms and pounding drumming keeping the steady pace continuing on through the series of sprawling sections with the fine series of fiery rhythms through the solo section and on into the final half for an enjoyable lasting impression.

Considering the star-power behind this one, it might be considered somewhat of a disappointment as it’s a little sluggish and slow-going, but when it lets loose there’s a lot to like here in terms of the great melodies and riff-work featured here which easily makes this a solid choice for traditional German power metal or Euro-flavored heavy metal in general.

Score: 78/100

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http://www.amazon.de/Behind-Mask-Fireleaf/dp/B0168B9VOU/ref=sr_1_1?ie=UTF8&qid=1457766971&sr=8-1&keywords=fireleaf+behind+the+mask

Sadist (It) - Hyaena

Artist: Sadist (It)
Release Title: Hyaena
Year: 2015
Label: Scarlet Records
Genre: Progressive Death Metal
Tracklisting:
1. The Lonely Mountain
2. Pachycrocuta
3. Bouki
4. The Devil Riding the Evil Steed
5. Scavenger and Thief
6. Gadawan Kura
7. Eternal Enemies
8. African Devourers
9. Scratching Rocks
10. Genital Mask

The seventh full-length effort from Italian progressive death metallers Sadist continues the bands’ strength of strong, innovative music within the death metal realm. As is the usually the case within their work, the majority of the work here comes from the dynamic and bubbling bass-lines present here, offering a scattering of light, churning rhythms with plenty of complex and utterly challenging arrangements that add a discordant, jazz-like style to the tracks here with their all-over-the-place vibe that does such a spectacular job of playing to the progressive end of the material. Going alongside this technical basswork is the strong, near-avantgarde riff-work that brings along plenty of twisting, challenging riffs that give this one a rather prominent attitude that straddles the two genres by being progressive enough building through avant-garde riffing and patterns. Though this gives the album a strong edge here with all these unique, challenging patterns, it also means that way too much of the film is content to rest on the fence of being just too weird and discordant to really give the fans of traditional death metal much to rest on. There’s plenty of challenging riff-work and complex patterns that often-times comes off with amazing dexterity, but the hollow-ness of the production renders a lot of it with a light, airy feel that’s completely the opposite of the weighty, beefy style of more traditional death metal variants in general but more impactly makes the material seem bland and lifeless as it runs through it’s paces. There’s little thump to the music here, and it’s built to have that here which can wear thin as this goes along. Still, it’s all that really holds this back.

The first half here gives this a solid view of what to expect. Opener ‘The Lonely Mountain’ features a stilted intro before turning into a thumping up-tempo gallop with charging rhythms and dynamic riff-work offering plenty of atmospheric notes alongside the off-kilter arrangements bringing the tight riffing and pounding drumming along through the final half for a strong opener here. ‘Pachycrocuta’ blasts through a series of swirling riffing and thumping drum-work with plenty of stuttering rhythms alongside the complex rhythms leading into the pounding drumming and blaring bass-lines of the solo section keeping the discordant patterns and twisting arrangements along throughout the finale for another enjoyable effort. ‘Bouki’ takes squealing synthesizers and stuttering, start/stop patterns with plenty of blistering rhythms with the discordant, angular patterns twisting through the synthesizers with the rumbling bass-lines making for a swirling series of up-tempo patterns along the charging drumming through the final half for a strong overall highlight. ‘The Devil Riding the Evil Steed’ uses sinister trinkling keyboards eventually leading into the churning riff-work and dynamic drumming against the blaring, bursting bass-lines full of challenging, complex rhythms slowing down for plodding, sluggish solo section and carrying through to the finale for a somewhat enjoyable effort. ‘Scavenger and Thief’ features an assortment of animal noises into an up-tempo series of swirling riffing, ethereal keyboards and stuttering drum-work that drops off for the churning mid-tempo rhythms that continue on through the mid-tempo solo section and churning along into the final half for another enjoyable effort.

The second half plays off as an enjoyable if slightly lesser variation of the first half. Instrumental ‘Gadawan Kura’ offers lush acoustic guitars and plenty of blaring bass-lines as light, plodding tempos weave through the dreamy, melancholic paces before getting up to churning mid-tempo rhythms in the finale that offers a suitable mid-album breather. ‘Eternal Enemies’ uses tight, churning and twisting rhythms swirling through rather up-tempo paces full of dynamic patterns that nicely drop off into a minor atmospheric interlude before turning back into the mid-tempo mixture of swirling patterns and churning rhythms throughout the final half for another strong highlight. ‘African Devourers’ features spacey keyboards over blaring bass-lines and dexterous drumming charging along with the change-over into more technical patterns keeping the buzzing bass-lines in check through the series of churning riffing through the finale for a decent enough track. ‘Scratching Rocks’ features screeching keyboards that turn into a series of discordant riffing with dexterous drumming taking the screeching riff-work with churning rhythmic riffing twisting along through the discordant patterns in the final half for a mostly disappointing and uneven track. Lastly, ‘Genital Mask’ brings in tribal drumming that turns into swirling buzzing bass-lines and stuttering riff-work bringing along plenty of discordant rhythms weaving throughout the extended instrumental buzzing bass-lines with plenty of ethereal rhythms flowing into the finale for another enjoyable effort that ends this on a nice note.

While it does lack a discernable thump that holds it back and might appear too avant-garde for more traditionalists who aren’t that into this kind of technicality and progressive edges, there’s more than enough general talent and wholly enjoyable moments that fans of more adventurous music won’t find a lot to really enjoy here.

Score: 88/100

Does it sound good? Order from here:
http://www.sadist.it/

Dark Plague - When the Last Christian Dies

Artist: Dark Plague
Release Title: When the Last Christian Dies
Year: 2015
Label: Fallen-Angel Productions
Genre: Black Metal
Tracklisting:
1. Altered Faith
2. Frozen Years
3. Burning Anger
4. Veil of Veneration
5. Doppelgänger
6. Pure Fucking Hate
7. Sombre Invocation
8. Déliquescence

The second full-length from French black metallers Dark Plague offers a rather intriguing and potentially explosive version of second-wave black metal. Built around swirling, buzzing tremolo-picked riffing at a steady, single-minded mid-tempo pace for the most part, there’s a decidedly cold second-wave vibe from the music here which runs throughout here as this runs into the kind of patterns and arrangements all so prominent in that style. By engaging those rhythms for the duration of the racks, often-times without really deviating much in terms of tempo or rhythm changes, this leaves a very simplified style here of generally fast-paced and intense styles here that leaves this one rather fast-paced for the duration here with this one really getting enjoyable when it lets loose with the tremolo patterns and gets down to the devastation aspect of their sound. Though the quiet, moody sections do come into play here from time to time to offer up a sense of variety among the tremolo riff-work, it’s not enough of a variation to really counteract the one problem running throughout here in that the single-minded nature of so many of the tracks here. It really tends to dominate this one by generally going through one main pattern arrangement for the tracks which generally results in tracks that go on for far too long or generally features a series of bland patterns that don’t go anywhere really exciting or enjoyable. While it’s not a really big problem here, this one does tend to get featured rather prominently.

The first half here gives this a solid example of what to expect here. Opener ‘Altered Faith’ utilizes swirling mid-tempo tremolo riffing and utterly pummeling drumming carrying along at ravenous, stuttering paces as the epic arrangements allow for more melodic flurries buzzing along through the fiery tremolo rhythms racing through the final half for an enjoyable opener. ‘Frozen Years’ opens with frantic blasting over swirling mid-paced tremolo riffing carrying on over the shift into solid traditional rhythms through the stylish series of melodically-tinged tremolo riff-work along the stylish mid-tempo pace running into the finale for another solid highlight. ‘Burning Anger’ features galloping mid-tempo drumming amid swirling tremolo riffing throughout the steady paces dropping into stylish bouts of melodic riffing along the way as the atmospheric swirling tremolo patterns kick back into highly energetic patterns swirling along into the extended final half for an overblown but still enjoyable epic. ‘Veil of Veneration’ uses blistering drumming and frantic swirling tremolo patterns with plenty of furious patterns flowing along through the steady, intense rhythms charging along at a singular pace bringing the intensity along into the frantic tremolo riffing of  the melodic final half for a solid, enjoyable effort.

The second half here continues on with the same overall feel as the first half. ‘Doppelgänger’ features simplistic tremolo riffing and steady drumming paces that hold the simple rhythms along through the main sections here with a series of discordant energetic patterns buzzing along through the pounding drumming holding steady into the finale for a lame, short and mostly misplaced effort that seems there to fill up time. ‘Pure Fucking Hate’ features rattling mid-tempo tremolo patterns and unrelenting blasting drumming running throughout a series of frantic up-tempo paces with the strong mid-tempo swirling riffing leading to sprawling mid-tempo patterns keeping the twisting mid-tempo rhythms into the swirling final half for an overall enjoyable effort. ‘Sombre Invocation’ blasts through intense and blistering drumming over rather simplified tremolo-pattern riffing that continues with the pummeling blastbeats along through the swirling tremolo patterns alongside the thumping rhythms and energetic tempos with a moody atmospheric piece leading into the blazing finale for another stellar effort here. Finally, album-closing epic ‘Déliquescence’ opens with furious blasting and mid-tempo riffing swirling through the sprawling, majestic paces filled with blastbeats and several dynamic rhythm changes that bring the epic buzzing arrangements along through the melodic meandering along with the blasting sections that carries on throughout the twisting final half for a fun if slightly overlong effort that does end this nicely.

While it does have a slight tendency to wander along through meandering patterns and go-nowhere sections, there’s enough displayed that’s enjoyable enough here to make this a solid-if-hardly-recommendable effort for diehard second-wave fanatics or those looking for something more traditional that isn’t too obscure or avant-garde for their tastes.

Score: 80/100

Does it sound good? Order from here:
http://darkplague.bandcamp.com/album/when-the-last-christians-die