Artist: Demonic Slaughter
Release Title: Haunted
Year: 2014
Label: Pagan Records
Genre: Old-School Black Metal
Tracklisting:
1.Pit of Coffins
2.Mystic Rites
3.Psalm of Mist
4.Haunted
5.Madness and Astral Emanations
6.Monks of Cold Mountains
7.Żałobna procesja (Mournful Procession)
8.Wyklęty (The Wretched)
9.Death’s Creek
Furthering their connection to the old-school, Polish black metallers Demonic Slaughter have settled into a solid reputation for not only their boundless proficiency but also their dedication to writing and recording material in the traditional old-school manners. With drummer Nuklear Kriss departing in favor of new drummer Opium, the group’s fifth full-length was originally released December 10, 2014 on Pagan Records.
As has been the bands’ penchant from the beginning, this here offers up a non-stop assault of traditional Norwegian-styled black metal without much deviation. This one tends to revolve around simplistic tremolo riffing and straightforward rhythms that charge forward without altering themselves or changing up the stylistic charge here with these being placed alongside harmonic melodies and choppy drumming. This is a mostly continuous assault here that’s unwavering in it’s charge with these elements being brought to bear on the tracks without exception, and these find melodies featured throughout here are really where the majority of the album is taken up by the solid infusion of those melodies running nicely alongside the plodding tempos. When it gets to the more charging sections, this change in tempo and aggression leads to some more engaging efforts alongside the pronounced melodic efforts featured here, though these are still dominated by the melodic mindset for the most part. That is the album’s one weakness here with the rather sluggish, driving rhythms not really generating much energy or fiery rhythms which tends to make for a somewhat bland overall impression here that tends to feature the band going through the same overdrawn, bland rhythms for the most part. It’s not entirely detrimental as the melodies are engaging enough, but this one really could’ve used some extra fire.
Though it’s somewhat hampered by the fact that there are some rather bland and somewhat lifeless melodies brought to bear on the album as a whole, this one still emerges with enough positives from the melodic atmosphere and old-school rhythms to give this one some appeal to the most devout old-school black metal aficionado only.
Artist: Revel in Flesh
Release Title: Death Kult Legions
Year: 2014
Label: Cyclone Empire
Genre: Swedish Death Metal
Tracklisting:
1.In the Name of the Flesh
2.When Glory Turns to Ruin
3.Black Oath Impurity
4.Graveyard Procession
5.Death Kult Legions
6.Frozen Majesty
7.Hurt Locker
8.Cryptcrawler
9.As Souls Descend
10.Levitation
11.Necropolis (Manilla Road cover)
Continuing to honor their heroes, German death metallers Revel in Flesh have stayed remarkably consistent as they dwell in the realms of the Swedish scene for which they pay homage not only in their sound but from their namesake being a classic Grave track. Now almost two years of in-depth songwriting and production process has brought forth their third full-length effort released December 5, 2014 on new label Cyclone Empire.
There’s little overall surprise here, this one is straightforward and unyielding Swedish-styled death metal which goes for the traditional elements featured here quite frequently. This one goes for that typical swirling-style buzzsaw riffing patterns that were born in the early-90s Stockholm scene and manage to feature the same energy and infectious bursts of aggression that are featured prominently throughout here that give this one a touch of the strong melodies woven nicely into the main rhythms. While these are quite impressive, there’s a more prominent mid-tempo aspect here that simply features those elements played more with a chugging mid-tempo rhythm pattern that makes this one far more prevalent in keeping the effort plodding along rather than dropping it in favor of the blistering speed. Though it still conjures up the effortlessly melodic rhythms and epic arrangements that have always been featured here with this one sounding quite massive, the fact that there are just too many of the same plodding tempos does way this one down somewhat as there’s just not as much of a change within the album to really generate much more beyond the obvious enthusiasm playing this kind of material. Also, due to the overt and obvious influence taken here from the very beginning, this one isn’t all that original and doesn’t really go for the most creative riffing patterns or stylish arrangements here as it tends to be way too similar-sounding to numerous other old-school death metal bands that actually come from Sweden which has that same general approach and attack as shown here, and it can lose it’s identity quite easily. Otherwise, this one is still a somewhat solid and enjoyable effort.
Though it really does seem like numerous other efforts in this very scene which can cause this to become quite voiceless at times, there’s a palpable sense of enthusiasm playing these same rhythms throughout here that makes this one a solid choice for any Swedeath or old-school death metal aficionados, though those looking for more original bands should heed caution.
Artist: Abysmal Dawn
Release Title: Obsolescence
Year: 2014
Label: Relapse Records
Genre: Death Metal
Tracklisting:
1.Human Obsolescence
2.Perfecting Slavery
3.Inanimate
4.Devouring the Essence of God
5.One Percent Incomplete
6.Loathed in Life/Praised in Death
7.By My Demons
8.Laborem Morte Liberat Te
9.The Inevitable Return to Darkness
10.Night's Blood (Dissection cover)
Growing stronger with every release, California death metal machine Abysmal Dawn has quickly become one of the more prominent names in the modern death metal scene with their stunning mixture of old-school rhythms with more modern technicality. Being the only release by the band as a four-piece with second guitarist Andy Nelson leaving the group afterwards as well as drummer Scott Fuller decamping as well, the group’s fourth full-length effort was released October 24, 2014 on Relapse Records.
As with the majority of the modern death metal groups, the focus here is mainly on the album’s unrelenting riff-work being present first and foremost. This one really tends to go for the deep churning riff-work and charging groove rhythms commonplace in the modern scene, all given a fine technical bent that makes the tracks seem far more devastating with dexterous drumming and swirling grinding patterns cropping into the riff-work as well. This makes for a solid intensity to the album that meshes quite nicely with the other sections here where the focus is on the more old-school rhythms as the charge shifts through simplistic mid-tempo tones with sweeping riffs, dynamic drumming and blazing melodic breaks that leave this one with plenty of variety and dynamic shifts between the tracks where it goes nicely between the frantic technicality elsewhere. This does start to wear thin here as the album does come off with more of a sense of familiarity as it goes along here with this one tending to feel rather much like most other bands of the style tend to do as it goes for the kind of familiar burst of grinding brutality and technicality before switching over into a more melodic passage and really makes this struggle to retain the attention as it goes along into the second half as you’ve already heard the bands’ tricks by that point. There’s very little variety with this one that really sticks out here as it’s without fail an either/or style release, and that makes for a finely performed if overall-bland offering. Still, it’s good at what it does which makes it somewhat listenable if not a stand-out effort.
Though there’s plenty of moments where this one comes off as more one-note than it really should as the lack of real variety does wear thin here, this is still a decent enough effort when it really gets going that there’s a lot to like here for most fans of modern death metal to really enjoy and get the most out of this one.
Artist: Destroying Divinity
Release Title: Hollow Dominion
Year: 2014
Label: Lavadome Productions
Genre: Retro Death Metal
Tracklisting:
1.The Eternity Guardians
2.Burning Divine Domination
3.Scent of Death
4.Empire of Emptiness
5.Suffering Redemption
6.Defleshed Skeleton
7.Sinful Omens
8.Inner Slavery
Undoubtedly at the top of their game, Czech death metallers Destroying Divinity has cemented their stance at the top of the revivalist death metal movement years ago, and have now slain all in their wake with yet another demolishing effort. With only a four-year gap between releases to keep the creativity flowing, this crushing and devastating fourth full-length effort was released September 30, 2014 on Lavadome Productions.
Following up their devastating last release, this one manages to carry on a lot of the same formulas that made that release so special and devastating by featuring the kind of technically challenging and complex riff-work within a framework that adds a degree of atmospherics into the proceedings. There’s plenty of ravenous thrashing mixed with technically-charged rhythms that all compliment the type of fiery patterns favored by the group, where it features a wide assortment of riffing to feature that amount of ferocious work here. While this here manages to give this a quite dominant display, there’s also hints of melody featured that carries a rather impressive buffer between these charging rhythms as the band’s ability to charge forward at blistering fashions yet also manage to accompany a slight deviation or variance that actually works quite nicely in support of the more dominant challenging riff-work and blasting drum-work. That carries itself across the album to such an extent that its dynamics allow it to feature enough here which combines that amount of old-school flavor with a more modernized approach to really gel so well here that its appeal is spread out even further by being able to allow for all these different elements into an equally coherent and devastating whole. While it might be a little same-sounding as it goes along, there’s little about this one to dislike.
There’s so much to really get behind with this one that it really furthers and cements their status at the top of the pyramid here when it comes to the revivalist death metal scene that the few minute flaws are so unimportant in the grand scheme of things that this deserves as much appeal as possible with all many of death metal fans required to check this one out.
Artist: Decimation (Turk)
Release Title: Reign of Ungodly Creation
Year: 2014
Label: Comatose Music
Genre: Brutal/Technical Death Metal
Tracklisting:
1.Noncelestical Orisons Cataclised in the Passage of Ninib
2.Supreme Wisdom of Blasphemy in Reign of Ungodly Creation
3.Mystic Transformation in Encrypted Scrolls of a Grievous Sermon
4.Aberrant Ablution by Filthy Excrements of a Grotesque Crassamentum
5.Psalm Carnage in the Ghoulish Chapel of Gehenna
6.Ghoulish Requiem for a Macabre Dæmonarch
7.Prophetic Despise Under the Pendulum of a Sacrilegious Throne
8.Devilish Domain Vortex in the Gloom of Wicked Ziggurat
9.Veracity in Relics
Certainly taking their time between releases, Turkish brutal/technical death metal legends Decimation have continued to hone their skills in between releases with the now four-year gap between efforts resulting in a minor lineup shuffle along the way. Pruning vocalist Egemun Seyhan so guitarist/bassist Erkin Öztürk can now take over vocal duties in the power trio, the group’s third full-length is released December 9, 2014 on Comatose Music.
Like the majority of groups in this genre, there’s a strong reliance here on employing a tight, swirling series of riff-work with plenty of utterly frenzied and dynamic rhythms here, which are played at rather frantic speeds to the point of being blistering battering rams. The complexity of the riffing and bludgeoning rhythms featured here is where this generates the technical formation of their material, featuring enough challenging patterns that there’s plenty to enjoy for the sheer whirlwind of their playing ability alone while generating the kind of tightly-wound, blasting segments to offer an onslaught of brutality. That more brutal-accented part of their sound drives the music moreso than their technicality as this one really whips up that kind frenzied charge here as the dominant aspect of the music oftentimes at the expense of the rest of the track which seems to be the album’s main failing here. This is more concerned with hammering out brutal sections of the arrangements that it really doesn’t do much at all with the rest of the music here and turns it all into a blinding blur of squealing guitars and blasting drumming that is exceptionally competent in its approach yet doesn’t generate the kind of enthusiasm for itself that it really needed to stand out in the scene. This one really could’ve been given a little more change-up in the riffing approach here to at times distinguish what the actual rhythm at play here is really attempting as it’s mostly buried under the sea of blindingly-fast technical riff-work. On the whole, though, it’s the only real issue to be had here.
Though the album somewhat struggles with its identity as there’s little on display here beyond the lightning-fast and competently-played material, that in itself might be enough to make this appeal quite heavily to fans of the brutal or technical realms of death metal or fans looking for more music from that area of the world, while others should heed caution with this release.
Artist: Game Over (It)
Release Title: Burst into the Quiet
Year: 2014
Label: Scarlet Records
Genre: Retro Thrash Metal
Tracklisting:
1.Masters of Control
2.Seven Doors to Hell
3.The Eyes (of the Mad Gardner)
4.C.H.U.C.K.
5.No More
6.Metropolis Pt.3
7.Trapped Inside Your Mind
8.Nuke 'Em High
9.Burst into the Quiet
Continuing on from their previous release, Italian thrashers Game Over further showcase their love of old-school thrash that was such a part of their debut effort. With original drummer Med departing and being replaced by Anthony "Vender" Dantone, the second album from the group was released June 22, 2014 on Scarlet Records.
As was the case with the first album, this one offers plenty of tightly-wound, intense rhythms that uses charging riff-work and intense patterns bristling with technical rhythms that are paced much like true speed and thrash bands. Packed in tight formations along frantic paces which give this a wide-ranging density layered across the rhythms with a few smartly-placed breakdowns which act as melodic breathers before going back to those more intense rhythms throughout this that make for a lot to really enjoy with the guitar-work. It’s all fast-paced and generates the kind of fiery energy rampant in the genre back in the old-school days where it’s tight riffing fully encapsulates that scene fully, and when added along with the strong drumming and blaring bass-lines it’s a true thrashing blast. On the whole, there’s not a whole lot to really dislike here with what the band is attempting. The basic attack is good enough, but the riff-work is so tightly-wound that there’s no real room to breathe in their arrangements that it simply just makes itself such a blur of utterly frenetic riff-work that there’s just so little to differentiate the tracks from each other. The short running time for each track that packs all of them into the same overall length is another part of that problem, and it does lower this one slightly even with a generally overall impressive attack.
With plenty of enjoyable elements to be found here alongside a few small flaws that do cause this to slip down slightly, there’s enough here that does work to overcome it’s flaws and manages to work incredibly well for revivalist thrash fanatics or most modern thrashers as well.
Artist: Impure Devotion
Release Title: Raping the God Privileged Flesh EP
Year: 2014
Label: Self-Released/Independent
Genre: Black'n'Roll
Tracklisting:
1.Lusting for Lilith
2.Locusts of the Omen's Wake
3.Raping the God Privileged Flesh
4.Entombed in Silent Eternity
5.5.
6.Sluts of Hell (Nattefrost cover)
Storming out of the underground, Texas-based punk/black’n’rollers Impure Devotion have come together to bring out the exceptionally depraved and demented sounds they crave that gets explored quite adamantly throughout this piece. Representing their first professional release, the bands’ debut EP was originally released December 11, 2014.
Featuring a rather raw and garbled approach, the band certainly steps out in the spotlight with a fierce and fiery first assault that’s quite decent at its overall style. The main genesis to be found here is the filthy, thrashing riff-work that carries out the same dirty, high-energy style and content generally featured in a raucous, simplistic manner that really exposes their punk leanings due to the overall simple-minded nature of the material. This rattling, ferocious material gets plenty of work here over the pounding drumming and fierce vocal work that contains a rather high amount of engaging rhythms full of explosive thrash and punk leanings, and when it’s then taken a step further with the low-fi, ultra-raw and near-garage-band quality production here it makes this all the more frantic and intense. Still, that production is going to be a major hurdle to overcome as the vast majority of the album blends into an indecipherable blur of thrashing guitar noise and thudding drumming which is pretty much what the entire album as a whole consists of. There’s not a whole lot of differences in the tracks which gets emphasized by the simple-minded nature of what’s on offer, and basically that all comes down to lower this one somewhat. Even with these flaws, though, it’s still got quite a lot to like at times.
Despite a few minor missteps that hold it back, the main part of this one offers up enough to like here in terms of raucous energy and intensity that manages to generate enough interest for those that can appreciate this kind of style while those that look for more professional output in the music should heed caution.
Artist: Vinterbris
Release Title: Solace
Year: 2014 (2016 re-issue)
Label: Nordavind Records (Triton's Orbit re-issue)
Genre: Melodic Black Metal
Tracklisting:
1.Dysphoria
2.Ash Alight
3.Fathoms
4.The Aurora of Despair
5.Gazing at a Fallen Sky
6.Euphoria
Following up the acclaim of their debut release, Norwegian melodic black metal band Vinterbris have quickly risen up the ranks of the scene and their homeland’s greatest genre acts that’s all culminated in one of their finest releases yet. Being the last release with original guitarist Richard Hemre Dahle before being replaced by Fran Ramirez, the group’s second full-length was originally released June 16, 2014 on Nordavind Records before a vinyl reissue September 16, 2016 on Triton’s Orbit.
This here is quite an impressive assault which manages to round itself out into numerous rather appealing facades. The most impressive is the fact that this one drags itself through highly-melodic and enjoyable riffing that still retains the fiery tremolo-picked style in the frantic up-tempo realms while still generating plenty of harmonious leads that makes this all the more imposing. By dropping the tempo down in the middle of the tracks for extended segments of melodic atmospheres that are wrapped in completely furious patterns, it creates an enhanced level of harmonic nature by balancing the extremely aggressive traditional black metal fire with strong melodic moments, and given that there’s plenty of truly ferocious moments still within this one makes for a rather impressive blitz. Even the other additional elements present here, from the more pronounced technical riffing which gives this one a much more dynamic series of rhythms while letting it simply blast away on it’s other riffing patterns and bringing in some acoustic instrumentation to accompany the melody lines throughout here give this one much more to like in the bands’ overall attack. Though this makes for a generally enjoyable time, this still has a minor issue in the fact that there’s just not a whole lot of time here to get acclimated to the bands’ approach. It really feels quite short-changed here even with the rather overlong and fully-loaded rhythms that are apart of the multi-faceted tracks here which is quite an odd feeling but it does become prominent enough to get noticed. Otherwise, this one has plenty to like here.
Though it’s a bit rushed yet seems a little overlong which is a rather unusual facet, the fact that there’s still a large amount of quality work displayed here with the strong riff-work and utterly impressive melodies that are prominently featured here makes this a strong effort for those into the more melodic black metal sound.
Artist: Reactory
Release Title: High on Radiation
Year: 2014
Label: Iron Shield Records
Genre: German Thrash Metal
Tracklisting:
1.Shell Shock
2.Spreading Brutality
3.Viral Overdrive
4.Kingdom of Sin
5.The Raid
6.Metal Invasion
7.A.B.C. Warfare
8.Orbit of Theia
9.Blasphemous Attitude
Initially formed in 2010, German thrashers Reactory quickly took their influences of American and European thrash acts from the 80s and have used those influences to carve a feral, rabid path of destruction through the underground. Following the replacement of original drummer Stachu Crash with Cauê Santos, the group prepares it’s full-length debut released March 14, 2014 on Iron Shield Records.
As is expected on an album as this, there’s the fact that the band is going through the rabid riff-work and charging patterns typically found in the German variety of thrash metal. The deep, jagged riffing and angular arrangements that often-times recall primitive black metal with their heavy churning patterns yet are still able to maintain the type of furious intensity in the main rhythms that became popular in the country’s acts in the first place. This produces a far more vicious and engaging energy here with the chugging patterns typified by this type of simplistic and hard-hitting brand of thrashing that goes for the more one-note approach than what is usually featured in the genre. By going for this strong mixture of churning ferocious thrash off-set by the more one-note chug-heavy secondary tactic there’s a rather impressive tight, confined atmosphere here that works incredibly well at displaying the old-school German wave of the genre while still opting for a more traditional style of dexterous, dynamic soloing that recalls the US school of attack. It’s all competent and engaging as a whole with this type of rabid approach yet the album runs into a sense of familiar far too often here as the band does go for the old-school German approach without much deviation and that tends to make this a wholly familiar and one-note effort. This is all typically well-played German-style worship for the most part, and doesn’t really offer up enough variety in this approach to really give itself much of a voice in the crowded field of imitators utilizing these elements. This is what tends to bring this one down somewhat.
Though there’s a few minor elements of identity crises to be found here which is to be expected with a band’s debut offering, there’s still enough to find engaging here with the powerful, competent performances and infectious enthusiasm managing to overrule the familiarity and make this a solid choice for German thrash aficionados or any fan of old-school or revivalist thrash in general.
Artist: Vulvodynia
Release Title: Cognizant Castigation
Year: 2014 (2016 re-issue)
Label: Vicious Instinct Records (Transcending Records re-issue)
Genre: Brutal Death Metal
Tracklisting:
1.Molecular Reconstruction
2.The Oppressor Unseen
3.Enslaved and Subservient
4.Monetary Malevolence
5.Unveiling the Abomination
6.Anti-machination
7.Tesla
8.High Frequency Active Auroral Research Engine [H.A.A.R.P]
9.Indoctrinated into the Void
10.Pathogen X
11.Diverge, Transmute, Alter.
12.Insurrection
13.Interdimensional Abnormality
14.Pollsmoor
Starting in early 2014, South African slammers Vulvodynia have quickly stormed that specific scene that allowed them to form their first releases in the calendar year with an EP released quickly before this first release. Still continuing the trend of including an instrumental version of the album alongside the regular release, the bands’ full-length debut was originally released in that manner October 31, 2014 before another release December 11, 2014 on Vicious Instinct Records that dropped the instrumental versions and is now ready for a vinyl re-issue in September 2016 on Transcending Records.
Offering up plenty of brutal moments, the dominant aspect to be found here is the high-impact slams that are featured throughout here which manage to generate a large amount of the work within the album here. The slow, heavy wave of riffing present here is rather impressive and dynamic, offering the kind of generous slam patterns to be featured heavily while weaving between the tight deathcore-styled breakdowns and the stylistic chugging that pops up here leading into the next wave of slams. That level of violence is kept up pretty consistently here with the vicious riffing holding the slam patterns up-front and center here which gives it the kind of room to maneuver throughout the main rhythms that also manages to feature much more traditional brutal death metal blasting in their attack with some stuttering syncopated riffing and tight choppy patterns that are incorporated incredibly well alongside the slams and chugging. Though all of this is quite fun and makes for a wholly enjoyable slam-based release, the fact that the album is just way too overlong and contains too many tracks is the main downfall here with this one seemingly going on somewhat past it’s useful point as it gets to a point of being yet another over-the-top beatdown with slams and chugging riffing that the album does feel incredibly overlong here with this many tracks here offering the same overall approach, and it would probably be utterly unbearable with the instrumental versions tacked on that also comes as a potential release variant.
While their main point of dissent here is merely the overanxious zeal of a debut with too many elements featured and feeling quite overcrowded, there’s more than enough here to really like about it that there’s plenty of appeal here for any kind of brutal or slam aficionado to really get into with this one.
Artist: Taekaury
Release Title: Spirit of Koguryo
Year: 2014
Label: Fallen-Angel Productions
Genre: Pagan Black Metal
Tracklisting:
1.Intro (天地開闢)
2.Killing Racist
3.Fucking Nowadays Korean Mental
4.Spirit of Koguryo
5.Gwanggaeto the Great King
6.From Dusk Till Dawn
7.Outro (蚩尤戱)
8.Way of Blood
One of the most convoluted band history’s ever, South Korean one-man pagan black metallers Taekaury have a rather long history dating back to 2000, including two spells as Apparition before this current name and then as Malakh before changing back once again. Initially independently released in 2014, the group decides to re-release their debut full-length on July 30, 2014 on Fallen-Angel Productions.
Managing to infuse their sound into an enjoyable whole, the main element at play here is the fact that this one really contains quite an exotic and vicious sound through the traditional elements present. The riff-work is exceptionally enjoyable with the vicious rhythms running throughout here carrying this one along in mixing swirling tremolo patterns alongside the bands’ infusion of charging militaristic patterns and a pounding death metal sensibility to their drumming as this here offers a far more explosive influence in that style. This features quite a more pronounced heavier, plodding charge than would normally be expected in pagan black metal styles and lets this one charge along quite nicely with it’s galloping mid-tempo pace and twisting riffing that manages to make for quite an exceptional sound here, especially alongside the album’s rather fun tendency to include short snippets of localized sound-clips or musical passages to add to the exotic flavor. That said, there’s a few minor elements that don’t work well here which really comes from the second half of the album as this is a stylistic departure from the first part. Rather than carrying on the first where it was somewhat more energetic, the majority of the tracks in this section here come off a little more plodding and slower paced which turns their swirling riff-work into simply plodding, nearly lifeless sections that aren’t really that interesting. It’s about all that really doesn’t work here.
Though it’s not necessarily the most cohesive effort around with a few minor flaws to be found here with the album loosing some steam as it goes along, there’s some absolutely fun moments as well throughout here that make this enough to be worthwhile for fans of the localized sound or those that prefer a more melodious version of pagan-accented black metal.
Artist: Master Crow
Release Title: Die for Humanity
Year: 2014
Label: Self-Released/Independent
Genre: Melodic/Technical Deathcore
Tracklisting:
1.Die for Humanity
2.Down from the Sky
3.Road of Vice
4.Katyusha
5.Scream in the Night
6.Staind in Blood
7.Born to Be Crucified
8.Eye of the Troll
9.Down from the Sky (Theo Holander Version)
The second full-length from French melodic death metallers Master Crow brings along plenty of highly enjoyable elements to make for one of the most explosive and enjoyable offerings in the style. The main segment at play here is the fact that the riff-work is just simply overwhelmingly technical and frantic, whipping up sizeable storms of complex chugging patterns driven along with plenty of ferocious industrial intensity, leaving this one to bring along the sort of blistering rhythms and cold, mechanical feel that’s simply devastating. The approach works in spades with the differing rhythm styles come along with the melodic leads that adds an accessible tone to those mechanical chugging patterns, furthering the overall enjoyment factor of the album with the wholly appealing facet where it’s complex and challenging rhythms that retain a wholly listenable approach with some appropriate and engaging melodies thrown into the mix. With the admittedly-triggered-yet-devastating drumming providing the kind of blasting dexterity for these cold rhythms to truly thriving here produces the last fully enjoyable element at play here to really present this as a dynamic offering. There’s rather small figure where this one does tend to hold this back is the fact that the album can feel quite limited and one-dimensional, never really moving along through much in the way of variation or dynamics and really keeping it centered quite locally around those distinct elements. Still, it’s engaging enough for a wholly enjoyable listen.
The first half here is a rather engaging and enjoyable set-up for this style. The opening title track takes an epic series of swirling rhythms before turning into ravenous pounding drumming and ferocious chugging riff-work leading through the stylized industrial rhythms and polyrhythmic patterns swirling along throughout the solo section and carrying into the frantic chugging patterns in the finale for a highly enjoyable opener here. ‘Down from the Sky’ features blistering technical polyrhythmic riff-work and light melodic drumming chugging along at a frantic mid-tempo pace offering plenty of stylish technical breakdowns alongside the swirling melodic leads bringing the tight riffing patterns through the final half for another highlight effort. ‘Road of Vice’ brings polyrhythmic technical charging patterns and blistering technical drum-work along through plenty of ravenous riffing and plenty of dynamic drum-blasts that bring the melodic flurries in small doses against the dynamic chugging whipping along through the finale for a decent enough effort. ‘Katyusha’ takes a slow, swirling series of droning riff-work and dexterous, technical drumming whipping along through highly complex rhythms full of feverish tempos blasting along through the breakdowns in the chugging rhythms through the solo section and keeping the frantic technical energy along through the chugging final half for another strong highlight. ‘Scream in the Night’ blasts through dynamic chugging riffing and pummeling drumming with plenty of driving technical rhythms firing along through the explosive series of overwhelming technical patterns blasting away against the melodic leads augmented with the clean vocals into the breakdowns of the finale makes for a wholly impressive offering.
The second half here is a little lower than the first half but does have a lot to like as well. ‘Staind in Blood’ uses buzzing chug rhythms and mechanical patterns through a series of furious breakdowns that whip along through a wholly frantic and furious blast of blazing technical chugging alongside the blasting drum-work that chops along through the final half for a blazing highlight. ‘Born to Be Crucified’ takes stuttering technical rhythms and frantic mechanical rhythms with pummeling drum-work carrying along through the stuttering tempo as the melodic rhythms carry along through the explosive swarm of up-tempo rhythms along through the breakdown-laden solo section and on through the finale for a strong and overall enjoyable effort. ‘Eye of the Troll’ takes blistering, blazing drumming with plenty of tight, choppy technical rhythms alongside the furious technical, challenging riffing with plenty of stellar polyrhythmic runs along through the tight breakdowns as the choppy melodic leads carry the frantic paces along through the sprawling final half for a decent and enjoyable offering. Closing with the Theo Holander version ‘Down from the Sky’ which doesn’t really offer much of a difference from the earlier normal version and doesn’t offer enough of a change that there’s any reason for it to be included here as it’s the same blasting drumming over frantic technically-challenging chugging that appeared on the other version, leaving it a curious inclusion overall.
Though there’s some minor, barely negligible questions about the album as a whole, there’s quite a bit still to enjoy here which makes this a formidable release that should appeal not only to those who appreciate and enjoy the absolutely pummeling technical work featured or fans of the band or their members’ other works.
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.
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.
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.
Artist: Skoll
Release Title: Grisera
Year: 2013 (Original Ewiges Eis Records version)/2014 (Fallen-Angel Productions reissue)
Label: Ewiges Eis Records (original version)/Fallen-Angel Productions (reissue)
Genre: Pagan Black Metal
Tracklisting:
Original Version-
1.Grush
2.Grisera
3.Hrothaharijaz
4.Wolves in the Mist
Reissue Version-
1.Grush
2.Grisera
3.Hrothaharijaz
4.Wolves in the Mist
5.The Bard
The second full black metal album from Italian pagan black metallers Skoll features a rather decent and enjoyable take on the style which gives this some rather enjoyable times here. Based rather fervently on the notion of the swirling tremolo picked rhythms that are wrapped together in sprawling, majestic patterns dosed with plenty of sporty woodlands-flavored arrangements and interludes that give it a naturalistic touch like the best of the pagan style albums here. The nature sounds here coming from the riff-work is further augmented by the use of spacious, sprawling keyboards that pop up throughout here which manages to get an even more overt pagan sound in combination of that kind of swirling rhythms and it’s a patently dynamic example of this style. However, this style inadvertently becomes it’s own worst enemy when it tends to become all the more obvious here that this riffing style is repeated ad nauseum to the point of becoming one-dimensional for the most part. The epic length of the tracks simply causes this one to keep the songs going around in pretty repetitive patterns keeps this one tuned into that ability as well, featuring the kind of arrangements to get to that sort of style of extended style, and does tend to lower this one somewhat slightly.
The first half here gives this a stylish look at what’s on display. The opening epic ‘Grush’ offers light melancholic acoustic guitar riffing alongside ambient nature sounds turns into raging simplistic tremolo riffing featuring plenty of clattering drum-work over the majestic airy keyboards that leave the extended atmospheric instrumental interlude with a return to the raging riffing and extended rhythms throughout the overlong final half which starts this off in grandiose, epic fashion. The title track uses winding rhythms and plenty of springy bass-lines with melodic buzzing tremolo rhythms throughout as the folk-like ambiance continues swirling throughout as the up-tempo riffing gives way to melancholic acoustics and howling winds limping along through the finale for a still enjoyable effort. ‘Hrothaharijaz’ takes stylish mid-tempo riffing and grandiose keyboards alongside clattering drumming though a stylish mid-tempo pace with occasional bursts of thumping, galloping drumming alongside the swirling riff-work and pagan-styled keyboards leading through the final half for the album’s overall highlight effort.
The second half isn’t all that bad and has some solid moments. ‘Wolves in the Mist’ uses light acoustic guitars before turning into a steady mid-tempo series of swirling tremolo riffing through the simplistic patterns accompanied with simple charging drumming and frosty pagan keyboards swirling around the sprawling, plodding tempos full of melodic rhythms throughout the final half for a decent enough effort here. Lastly, bonus track ‘The Bard’ features stylish mid-tempo riffing and rumbling rhythms through a plodding, mid-tempo pace with churning riff-work throughout as the stylish keyboards continually buzzing along into the lighter tempos bring about the plodding paces with the churning rhythms continuing through the finale for a well-deserved skippable bonus that ends this rather weakly.
While it tends to meander around a bit too much for it’s own good, there’s enough to really like here with this decidedly one-note pagan black metal experience that it really shouldn’t be that much of a challenge to those interested in the experience or find this kind of minimalist black metal appealing.
Artist: Krigere Wolf
Release Title: Sacrifice to Valaskjàlf
Year: 2014
Label: Fallen-Angel Productions
Genre: Black/Death Metal
Tracklisting:
1.Whispers of the End
2.Towards the Black Mass
3.Disciples of Sacred Fire
4.Sacrifice to Valaskjàlf
5.Blood to the Wolves
6.Impaled Slaves
7.The End Has a Beginning
8.Vision of Death
9.At Open Gates
The second full-length from Italian black/death metallers Krigere Wolf features a host of impressive elements on display making for a really explosive and engaging effort here. This is mostly centered around chaotic and utterly unrelenting old-school styled black metal based on the kind of swirling tremolo riff-work that’s been the basis for so many bands over the years sparking off a swarm of intense and chaotic arrangements littered with ferocious speed and energy as it races along throughout the tracks. The deeper, heavier rhythms found in death metal do leave this one with a stylish backbone to build off of, generating some impressive speed and overall leave the riffing with a lot to like, though it’s most certainly also generating a lot of impressive elements here from the utterly crushing and pummeling drumming. Whipping through clattering, overpowering double-bass blastbeats and fills, there’s just so much utterly devastating work there that this alone generates so much chaotic fun blasting through the tracks that it comes off all the more devastating and powerful. It does seem a little lopsided in terms of songs as the first half is so much fun while the back-end is weighed down with two useless instrumentals, which along with the intro lowers the original tracks down to six, but overall there’s plenty on offer to like elsewhere that it’s a momentary distraction rather than a debilitating detriment.
The first half here gives a strong impression of what’s on offer here. Instrumental intro ‘Whispers of the End’ features a haunting ambient note with grandiose patterns and atmospheric sounds leading into proper first track ‘Towards the Black Mass’ building into a thumping series of driving drum-work and ferocious tremolo riffing filled with explosive patterns and utterly pummeling drumming with the dynamic rhythms keeping the ambient notes to a minimum with the chaotic patterns of the finale making for an engaging and enjoyable opening blast. ‘Disciples of Sacred Fire’ uses a stylish series of swarming riff-work leading into an explosive mid-tempo blast as the utterly pummeling drumming and frantic tremolo riffing swirl through a series of dynamic rhythms keeping the charging atmospheres and heavy riffing intact through the final half for another enjoyable effort. The title track features blasting drumming amid chaotic tremolo riff-work that settles into a frantic up-tempo series of rhythms with charging patterns and scorching riffing filled with blazing chaotic tremolo melodies leading through the frantic finale making for a truly enjoyable highlight. ‘Blood to the Wolves’ takes an extended ambient intro before exploding through utterly charging rhythms with chaotic tremolo riffing alongside fully-driving drumming filled with chaotic, frenetic fills filled with unrelenting blastbeats as the tremolo riffing carries through the melodic solo section and driving through the final half for another strong highlight.
The second half is a little lighter compared to the opening but does have some engaging moments.‘Impaled Slaves’ takes a steady mid-paced series of rhythms with driving riffing alongside driving drum-work that allows for the occasional blast of scorching tremolo patterns kicking along into high-gear with the blasting energy and frantic rhythms charging along through the chaotic finale for a third strong highlight. Things take a sullen turn with the bland ‘The End Has a Beginning’ being a strumming bass-line and spoken-word interlude that feels completely out-of-place on the album and is wholly unnecessary overall here/ It picks back up with ‘Vision of Death’ bringing back ferocious drumming and scorching up-tempo tremolo riff-work with the energy keeping this one surging along with the frenetic rhythms surging through the chaotic pattern riffing as the tremolo riffing leads into the solo section while the chaotic patterns continue blasting through the final half for another strong effort. Lastly, album-closer ‘At Open Gates’ features ambient nature sounds and hushed voices over a crackling fire that effectively gives this a nice calming feeling leading into the finish which isn’t a bad outro track but highlights the other efforts as well.
An overall pummeling and dynamic release, there’s so much fun throughout here that this one manages to get a lot of it’s impressive natures out through these impressive arrangements, leaving this one to readily appeal to those more on the extreme end who appreciate this kind of style, while those looking for more melodious work in the genre will find this one somewhat challenging.
Artist: Hi-GH
Release Title: Till Death and After
Year: 2014
Label: Metal-on-Metal Records
Genre: Speed/Heavy Metal
Tracklisting:
1.We Are the End of All
2.Till Death and After
3.The Russian Border
4.Sex Machine
5.Drug Your Destiny
6.Devil's Fire
7.Born Under Evil Defence
8.Your Bloody Face
9.White Car Fever
10.Deal of Death
11.Forged in Hell
12.German Metal Attack (Hastighed cover)
The second full-length from Italian heavy metallers Hi-GH is a certainly strong and rocking effort that really gives their speed-driven anthems quite a bit of flair. In contrast to a lot of the written material for the band, the general air here is decidedly classic heavy metal with an admittedly prevalent punk-rock leaning in the simplistic, energetic manner of their rhythm work throughout this, making for a toughened, airy atmosphere throughout here being fueled by simple, repetitive riffing that generates a strong sense of speed for the tracks as a whole. This does drift slightly towards a melodic power metal scenario with the classic rhythms melded onto a speed-metal framework, but the general influx of truer heavy metal patterns does manage to keep this aimed more along that pathway. The biggest issue here is the fact that the strong punk influence here does manage to keep the tracks here pretty solidly and firmly one-dimensional without too many variations or stand-out moments of deviation within their arrangements here, only offered in a few small sections of the tracks which comes more from their traditional metal baseline anyway and really dropping the punk elements out of focus for the most part.
The first half here is a solid-enough start to this one. Opening storytelling intro ‘We Are the End of All’ features a sampled droning effect and a distorted speech that all sets the stage for proper first track as the title track fires off tight, raging speed metal riffing and pounding drumming augmented with the constant volley of galloping up-tempo riffing taking the rumbling rhythms and tight drumming through the solo section and on through the charging finale for an overall impressive offering. ‘The Russian Border’ uses a warfare-themed sample before firing into a steady, thumping series of tight riffing buzzing along to the rumbling bass-lines and pounding drumming charging throughout the solo section with the tight speed metal riffing carrying into the final half for another enjoyable track. ‘Sex Machine’ features an extended droning intro with rumbling riffing, frantic speeds and pounding drumming through the raging up-tempo paces through the rumbling, extended solo section filled with tight raging rhythms that carry on through the blazing finale for a less-enjoyable-if-still-entertaining effort. ‘Drug Your Destiny’ uses a steady swirling mid-tempo plodding rhythm with tight drumming that turns into a steady, rocking up-tempo gallop full of rocking rhythms and speed metal rhythms leading into the explosive solo section with plenty of driving riffing into the final half for another strong and enjoyable offering. The short rocker ‘Devil's Fire’ uses blaring punk-ish bass-lines and rolling drumming kicking into a stellar up-tempo pace with simplistic rocking punk rhythms raging along to the simple riffs thumping along with the rattling rhythms coming along with the strong finale for an enjoyable offering.
The second half here is certainly enjoyable enough with a few minor missteps. ‘Born Under Evil Defence’ brings a moody, atmospheric intro into a strong mid-tempo gallop with swirling riffing and charging energetic drumming racing through the blistering tempos with the stylish mid-tempo patterns continuing through the final half for another solid overall effort. ‘Your Bloody Face’ features a blaring bass-line rhythm and tight, frantic punk riff-work through the blazing up-tempo rhythms continuing throughout the finale for an even more impressive shorter thrasher. ‘White Car Fever’ slowly fades in from a steady speed-metal riffing pattern into a steady speed-driven series of rhythms as the thrashing punk energies are focused into the barreling tempos leading into the first solo section and sprawling through the second section as it leads to the pummeling final half for a highly enjoyable highlight. ‘Deal of Death’ takes thumping up-tempo rhythms and pounding drumming along the steady riff-work with plenty of tight patterns keeping this blazing along with a drop into fiery-but-more melodic rhythms leading into the solo section with the furious, charging rhythms continuing through the finale for strong back-to-back highlights. ‘Forged in Hell’ features a simple, charging riff firing through a blazing up-tempo pace with rocking energetic drumming carrying the frantic, off-the-rails intensity along through the simplistic rhythms with the blazing solo section and keeping the rattling tempos throughout the final half for a rocking, enjoyable track. Lastly, ending with their cover of Hastighed’s ‘German Metal Attack’ keeps the simplistic, driving intent of the original with a thumping, driving attitude from the pounding drum-work that continues on throughout the track here for a fine if non-essential listen to close this out.
This here is a highly enjoyable blast of speed-influenced traditional metal that contains enough dynamics and enjoyable moments to really work a lot of different facets into this one that gives it a lot of overall appeal to those firmly entrenched in the classic old-school metal style or fans of more energetic offerings overall.
