Artist: Ghusa
Release Title: Öswedeme
Year: 2017
Label: White Square Music
Genre: Swedish Death Metal
Tracklisting:
1.28 Days Later
2.H
3.Project 9
4.Death or Glory
5.Epitaph
6.Sickening
7.In Gods We Fear
8.Carve Up
9.Immortal
10.Flying in a Dark Dream
Continuing to uphold their country’s output, French death metallers Ghusa have utilized the famous style Swedish attack that was at the forefront of their original evolution years ago and brings them back from the grave once again to deliver the onslaught. After over a decade of silence that only included a compilation release in the interim, the bands’ sophomore album was originally released May 5, 2017 on White Square Records.
One this one gets going, the full-force of their Swedish influenced take on this style comes across in rapid succession as there’s little denying those elements. There’s plenty of focus on the rapid, tight rhythms featuring plenty of swirling buzzsaw grooves throughout here that feature plenty of utterly ferocious rhythms, thrashing patterns and that lively bouncy set of riffing that gives the material a great atmosphere in the faster sections. Even the slower sections contain a steady mid-tempo groove with plenty of tight, thunderous rhythms and a rather stylish series of riff-work which gives this a rather enjoyable air as well as plenty of diversity compared to the faster sections alongside these efforts. While none of this is particularly groundbreaking or original in the slightest as it’s basically just yet another band playing vicious and intense Swedish-styled death metal, it’s pretty much the main strike against the album where it doesn’t really offer up many flaws beyond its rather familiar and overly-accomplished style.
Being yet another in a long line of rather familiar and really proficient stabs at this style of death metal, that’s really all that can really be levied against this one in terms of finding flaws which really makes this a strong if unessential choice for connoisseurs of the genre for the most part.
Artist: Creeping Fear
Release Title: Onward to Apocalypse
Year: 2017
Label: Dolorem Records
Genre: Death Metal
Tracklisting:
1.Life Denied
2.Divine Casualties
3.Swallowed by Death
4.Trenches of Desolation
5.Onward to Apocalypse
6.Spreading Disease
7.As Vultures Fly, Battlefield Bleeds
8.Soiled, Tainted and Merciless
9.Disposable Existence
Created in late 2011, French death metallers Creeping Fear have spent their time honing their skill-set with a series live dates and well-received demos that have set the group on the path to the present day as they’re finally able to put the finishing touches on their debut effort. With their work finally able to be exposed to the public, their full-length debut was released March 3, 2017 on Dolorem Records.
From the onset, this one offers plenty of utterly enjoyable elements that come about due to the bands’ rather strong and charging atmosphere. The album is fueled by strong, raging riffing that takes a ravenous, buzzsaw-style of riffing to the forefront while adding together a frantic beat to the proceedings, all of which adds together into a rather pummeling onslaught of more modern templates in the genre. When these are added together alongside more loose chugging rhythms and swirling riff-work rather than the tighter buzzsaw rhythms elsewhere throughout here, that brings for a crunchy variant to the faster efforts throughout here, letting this get some nice disparate elements into their sound. The problem is these are the bands’ more epic and overlong arrangements due to the slow chugging style in the riff-work, and these are on the whole far blander than they need to be since the band has plenty to like on the more plentiful faster tracks here so even with the more enjoyable tracks taking up a majority of the album these long-winded efforts aren’t that exciting on the whole. Still, this is a debut and that doesn’t strike as big a detriment as it really deserves to be since most everything else on the record comes off enjoyable enough to overlook this.
Despite having some problems with maintaining some interest in their longer efforts here with some overlong tracks, there’s plenty to like elsewhere here with the bands’ faster and frantic material that it should be appealing to those who prefer this style of thick, crunchy death metal and can overlook the few flaws here.
Artist: Beyond Chronicles
Release Title: Human Nation
Year: 2016
Label: Self-Released/Independent (Doweet Records)
Genre: Melodic Death Metal
Tracklisting:
1.Ground Zero
2.Cold Vengeance
3.Last Transmission
4.Powerless
5.Upon Them
6.Not Scared to Die
7.Human Nation
8.The Best at Everything
9.Trebuchet
10.We'll March On
11.Beyond the Dark
12.Win by Blood
In existence since 2012, Paris-based melodic death metallers Beyond Chronicles have steadily risen to the point of allowing their influences to take place in bringing out the groups’ finest official release yet following their continuous stretch of live dates to hone their skills. Coming together in grand style, the first full-length album was released October 7, 2016 on Dooweet Records promotions.
Taking full advantage of their style, the group manages to exploit these elements together in fine fashion as they utilize their skills in rather decent offerings. Built around short, stuttering rhythms and a crunchy mid-tempo attack, there’s a generally solid attack featured throughout here that makes the generally one-dimensional material come to life. With the infusion of swirling melodic rhythms throughout the vast majority of the tracks as well as the inclusion of a stellar dynamic mixing together the hoarse shouts with the clean crooning, it all comes off with a fine light melodic touch that’s quite nicely in keeping with the general feel of the album. There’s little to be done, though, for how much of an impact the flaws have on this one as the material is quite light and one-dimensional sounding. It’s all based around the continued usage of a lightweight-sounding chugging series of mid-tempo riffs that keeps the energy level down into nearly achieving breakdowns in the middle of the tracks that really brings the whole quality of the second half of the album down. Likewise, the fact that this one really has quite a pronounced lack of variety where the songs blend together into so many similar set-ups which makes for a fine if much too familiar experience where the album really loses steam in second half as it becomes all too obvious that it has run through the playbook already and just offering up more of the same that highlights the fact that it’s much too long running-time-wise which highlights this factor much easier. Still, for a debut, it’s not entirely terrible.
While nowhere near an important release overall here, the fact that this is a debut and is to be expected that a learning curve si to be established for bands as they make their way in the scene is enough to levy this one somewhat into being really only for the most diehard and undiscriminating melodeath fan.
Artist: Yugal
Release Title: Chaos and Harmony
Year: 2016
Label: Self-Released/Independent
Genre: Groove/Thrash Metal
Tracklisting:
1.Khamsin
2.Once upon a Lie
3.Heavy Mental
4.From This Day I Will Rise
5.Dogma
6.Illusion of Time
7.Interlude
8.Silence Is Golden
9.Lost Mind
10.Chaos and Harmony
Coming together in 2009, French thrash/groove metallers Yugal spent several years honing their skilled mix between death metal, thrash and hardcore twisted with electric and traditional Middle-Eastern acoustic sounds over several years before finding their current voice. Furthering the lyrical connection between the duality of the universe, the bands’ debut album was originally self-released October 28, 2016.
Once this one gets going, it becomes quite a lively and violent mixture that brings about the bands’ rather strong stylistic choices at the forefront. There’s a strong element of swirling, mid-tempo thrash executed nicely here into a straightforward, simplistic manner that employs the chugging groove rhythms in conjunction with the thrash-based patterns to fully explore the bands’ chosen set-up quite well. Given that these are the more lengthy, involved tracks they give this one the kind of set-up which makes for quite a violent, hard-hitting attack here that goes quite nicely with the albums’ shorter, more traditional groove-minded efforts which instead drop a lot of the thrash elements for the inclusion of violent hardcore-styled beatings which are wrapped together with the groove-based chugging riffing for a nice dynamic affair. While these elements here are just so overly familiar and blandly recreated that not a whole lot of interest is really derived from this attack, the fact that the band manages to enhance these with the infusion of Middle Eastern-styled swirling acoustic rhythms makes a big difference in the overall attack here which gives this one some rather intriguing elements at times by offering a distinct and rather intriguing melodic flair alongside the repetitive-yet-still-competent riffing elsewhere throughout here, and it helps to hold this one up somewhat.
Given that the bands’ attack is derived from quite a few bands which makes for a violent if routine offering overall, the fact that enough interesting and intriguing elements are present here makes for enough to make this one intriguing enough for fans of the more violent, intense thrash-based groups to give this one a chance.
Forming quite recently, international grindcore supergroup Stench Price came through the tireless work masterminded by unconventional Siberian metal eccentric Peter G. Shallmin to become quite an eclectic and unconventional work. Joined by a cadre of guest musicians equally as impressive as the main group, the bands’ self-titled debut was released November 30, 2016 on Transcending Obscurity Records.
Despite the concurrent influence throughout here of rabid traditionally-minded grindcore, what becomes immediately noticeable about the album is the wealth of influences peppered throughout here. Ranging from offbeat and disjointed rhythms that contain quite a wealth of jangled patterns here that become even further into the off-kilter realm by including interludes featuring laid-back lounge rock or glittery bossa-nova sounds. These come off incredibly well-done and create quite an eclectic mix of influences throughout here merging the seemingly disparate elements into a cohesive whole which manages to flow into a tight whole with the ravenous grind aesthetics blaring away in the background with the surgical riff-work and tight, pounding rhythms make for a rather frantic charge that manages to come off quite enjoyable and can still please the ardent grind fans while throwing enough adventurous elements together to create a wholly engrossing experience. The only element that really holds this one back is the fact that there’s just no real narrative feel throughout here by constantly switching up the vocalists for each track which creates such a wildly inconsistent tone and feel that it’s more distracting than the music itself which is quite a feat. Managing to rearrange their music to fit the typical work of their guests is a big mistake overall here and doesn’t really work as the shifts in tone and dynamics become quite apparent that they’re trying to fit these different genres together to match the work of their guests and it doesn’t lead to a cohesive sound at all. Still, that might not be too much of an issue for some and will be able to overlook this one quite easily.
One of the more impressive and wholly original works of art in the genre, a rare feat in itself but to then mix the originality into actually entertaining music makes for an easy recommendation for those who can overlook the minor flaws present and are fans of the creative side involved in the project or those that want a little something different in their extreme metal.
Founded back in 2004, French death metal/metalcore fusioners Eradikal Insane have certainly seen their share of struggles over the years and have honed the anger and intensity into a fine package. Finally making it to their debut effort, the group brings aboard several notable guests to join in the occasion as it’s independently released September 7, 2015.
Managing to take on several extreme subjects as a whole, this whole affair is really centered around it’s tight, grinding riff-work that offers plenty of enjoyable elements, fast, razor-sharp and filled to the brim with intense patterns, this is a furious hard-hitting assault that really works quite well at generating the kind of savage baseline to incorporate plenty of other extreme elements into their sound. The faster tempos at play here and technically-challenging riff-work featured with this also works in connection to that savagery, and when put together that gives this the kind of savage approach that’s buffered quite nicely by the album’s propensity to introduce breakdowns into their tracks. Played with the typical hardcore approach where it’s all about the stuttering start/stop approach that comes slamming to the forefront of the tracks, it takes plenty of hard-hitting action to the forefront of the tracks and manages to make for a much stronger and fully enjoyable offering with all the brutality present here. The fact that the album does manage to stumble slightly with it’s riff-work as the album appears way too one-note at times where it’s running through pretty similar patterns which tends to cause this one to get into rather familiar territories quite quickly especially during the middle portions where it’s run through numerous repetitious patterns already by that point and it’s quite obvious retreading on familiar ground. Likewise, the bands’ inclusion of breakdowns into their music might be a cause for concern for some as there’s a decided backlash against that kind of element mixed into their extreme metal, though it’s not all that bad overall.
Though there’s some minor flaws to be had here, some of it worthwhile and some of it due to personal preference, there’s still enough positives to be found here that there’s more than enough appeal to be had for those that can overlook the flaws to enjoy the extremity offered while those that aren’t in the slightest brought in by that nature should heed caution.
Coming together quite recently, French one-man black metal project Koldkrypt allows the creator by the name of Typhus to create a wildly varied and eclectic infusion of elements into black metal. Initially independently issued May 30, 2016 on a limited run, the debut full-length release from the project is now reissued July 5, 2016 on Sepulchral Silence.
Focusing primarily on a raw black metal sound, the main element at play here is the fact that there’s a pronounced and utterly dominant amount of material here that features fiery tremolo-picked riffing filled with the traditional brimstone-accented rhythms that bring about a feeling reminiscent of the second-wave worshippers. The straightforward, swirling tempos and blasting drumming are certainly on-point in that style as well which certainly helps further this connection to the genre even further, with the slew of far more traditional elements present in the arrangements and riffing keeping this grounded in those second-wave patterns so that once it starts to introduce other elements here in some progressive riffing that’s quite melodic while also introducing a far more technically imposing series of riff-work into the tracks which in fact creates a rather epic mind-set here with it going for some complex, convoluted arrangements that really drag on unnecessarily here which is somewhat of a big problem with this one. It doesn’t really know how to quit while it’s ahead, as there’s plenty of utterly impressive and dominant blasting patterns that are wrapped alongside a series of overlong, meandering rhythms that just seem to go on far longer than it really should, and that ends up making this feel quite longer than it really should be as these progressive elements just tend to make this quite a bit longer than needed. While that’s not a crippling factor here considering it’s a debut and is something that might get honed out over time, this does leave a big impression on the listener in the end. Otherwise, there’s plenty to really like and enjoy about this one.
Though it’s somewhat commendable to want to include everything possible to showcase your roots and influences on a debut effort like this, the fact that it’s somewhat dragging and meandering does become the main focus here away from the remaining positives leaving this one mainly for progressive-minded fans of the original second-wave movement or those than can appreciate it’s flaws regardless.
Artist: Skox
Release Title: Years of Legions
Year: 2016
Label: Self-Released/Independent
Genre: Thrash Metal
Tracklisting:
1.Entering the Battlefield
2.Years of Legions
3.Cell Swelling
4.Running Out of Time
5.Thrashtastik
6.Engine of Death
7.Road 666
8.March of the Dead
9.Smash Your Enemy
10.Leaving the Killing Field
Toiling in the underground since 2003, French thrashers Skox have had very little output since their creation, spawning only a demo and an EP release five-years later before another six-year gap in releases until now. Finally ready to unleash their debut offering August 12, 2016 on most digital platforms, the bands’ efforts have served up a solid and serviceable debut offering..
From the beginning this here showcases itself as a rather frantic and tightly-wound effort with the short, stuttering rhythm patterns generating the main focus and drive here throughout the music which gives this a solid backbone here. This generates the kind of short, sharpened bursts of thrash which becomes quite frantic and generally far more vicious than expected as there’s a series of tight, vicious rhythms on display in association with the rattling drum-work and wildly-chaotic leads that are feverishly played over the whole effort that adds nicely to the frantic rhythms. Likewise, the shorter rhythms work well here in making for a routinely enjoyable mid-tempo chug to dominate the majority of the remaining sections of the album, and generally works quite well here by keeping the material up-beat and charging along with the bouncy tempos off-setting the raging rhythms into a solid whole. There’s a slight feeling here that the album could deal with a more pronounced set of intense tracks here as though those are where the band really scores quite well the fact that it’s drowned out by the tighter-yet-less-energetic mid-tempo sections causes this to drop off in intensity throughout the album which is slightly troubling when it really could’ve gone for a more engaging attack. Still, this one is a debut offering and does get a slight pass on that front as the band does get experience to even it out.
Though it does have some minor issues here relating to some inexperience issues at keeping material interesting and inviting over a full-on album, this is still a mostly serviceable and enjoyable effort that will mostly appeal to those who can overlook the flaws in their thrash or just generally enjoy the genre to a complete extent.
Artist: Mortuary (Fr)
Release Title: Nothingless than Meaningless
Year: 2016
Label: Gorgeous Productions
Genre: Death/Thrash Metal
Tracklisting:
1.Only Dead Witness
2.Empty
3.Tube
4.Above
5.Pleasuffering
6.U-Man Splet, K-Os Crawled
7.Yesterdead
8.K
9.Morbid Existence
10.Kingdom
From the beginning back in the 80s, French death/thrashers Mortuary have steadily created a framework that makes them one of the unsung and underrated efforts in the style with plenty of rather fun times in their discography. With this being the last recorded output featuring guitarist Paul before his leaving the band, their fifth full-length effort released January 8, 2016 on Gorgeous Productions shows the band at the height of their powers after a six-year break between releases.
For the majority of the album’s running time, this here is a truly ferocious and relentless death/thrash offering showing a decidedly energetic and rousing thrash attack with simplistic riff-work and tight rhythms galloping along here. This is a really engaging and rousing effort with the explosive tempo changes forcing this into an endless series of simple thrashing riff-work and a focused intensity on charging along at the fastest possible tempo throughout here which really helps to make for a strong and confident attack. That’s apparent when the band slips in slightly down-tempo rhythms that takes on a rather sluggish cadence with the deep, churning groove-styled patterns that gives it a death metal touch with it’s rather frantic thrashing madness alongside the material here for some rather impressive dynamics and variances in the arrangements to further make for a wholly appealing effort. The fact that there’s such a one-sided attack throughout here does end up leaving this one with the impression that it really only knows one trick since it manages to feature not too much differences in terms of it’s overall approach and style beyond merely dropping the tempos which it does nicely but can get lost in the shuffle for those unfamiliar with this approach. There’s little need for that to be an issue, as the material is quite impressive and enjoyable for the most part.
Despite popping up with a somewhat minor and rather useless flaw for the most part, this here is one of the better releases not only of the genre but also in their catalog as their consistency and competence makes for an album that will appeal to any fan of old-school death or thrash metal as well as any fan of the bands’ previous works.
Artist: Onirism
Release Title: Cosmic Dream
Year: 2016
Label: Self-Released/Independent
Genre: Symphonic Black Metal
Tracklisting:
1.Purple Sky (Introduction)
2.Beginning of a New Era
3.From the End to the Origins
4.Ephemeral World I
5.Ephemeral World II
6.At the Heart of the Desert for the Eternity (Introduction)
7.The Curse of Ahriman
8.The Old Man
9.Darkness
10.Weavers of Time
11.Baneful Glows in the Night Sky (Introduction)
12.Cosmic Dream
From the inception in 2014, French one-man symphonic black metal act Onirism has utilized founder Antoine Guibert’s penchant for writing about lucid dreams on epic symphonic black metal music with many atmospheres throughout the music. Now, he presents his epic full-length release independently January 2, 2016 with nearly eighty minutes of symphonic madness.
Regardless of anything else, what’s most apparent on this album is it’s epic scope and ideals here which run the gamut from extreme symphonics to their penchant for atmospheric rhythms and patterns. The symphonics come from the expected sources here with plenty of over-the-top majestic keyboards running rampant across the release not only supplying plenty of dynamic and charging tempos that are given plenty of room to incorporate the utterly blistering riff-work here raging along in perfect time here with these savage rhythms cutting along throughout the whole of the album. This is a truly fast and up-tempo effort with plenty of really impressive works here when he gets up to speed and can work his faster rhythms here to rumble alongside the keyboard works, and with the drumming blistering away with their hard-hitting patterns featuring plenty of dynamic tempo changes that are entirely possible within the epic song-structures on display. Still, even with all that fast and hard-hitting music what really undermines this one is the epic-ness and generally overlong arrangements that are oftentimes filled with excessive elements from the folk interludes to majestic sprawling sections that are just so lifeless and draining that it sometimes takes the track awhile to get back into the proper swing of things. That in itself is aided along by the fact that the album’s simply way too long, especially for a band’s debut release as the overwhelming amount of material here becomes a struggle to listen to as time goes on and really struggles with retaining its attention in the second half as the length of the material but also the girth works against it.
Though not nearly as troubled as it makes itself out to be here with it’s rather overlong presentation and just generally being way too bloated for it’s own good, there’s still more than enough at work here to make this a stylish and somewhat impressive effort that should mightily appeal to fans of all styles of symphonic black metal who can look past the flaws here.
Artist: Scolopendra
Release Title: Cycles
Year: 2016
Label: Dooweet Records
Genre: Thrash/Death Metal
Tracklisting:
1.Dream Sequences
2.Purity
3.Awake Nightmare
4.Spartan Killer Instinct
5.Morbid Psychosis
6.Mental Torture
7.Psychic Paralysis
8.End of Tunnels
9.Pinhole of Diffraction
10.Pinhole of Diffraction (Part 2)
11.Psychotic Mass Murderer
12.Soul Dissolution
The debut full-length from French thrash/death metal band Scolopendra manages to contain enough quality points to be a viable entry in the style moving forward. Based around a tight, crunchy thrash attack with the scattered deathly riff-work and vocals, this here is a lively affair full of dynamic rhythm changes and wholesale tempo shifts. The riffing here is capable of deftly maneuvering through these shifts with great ease, either at a generous mid-tempo gallop littered with steady, simple drumming, swirling thrash rhythms rattling along at a fine heavy charge or just bursting into full-throttle paces that explode with tight energy and frantic rhythms that allow their death metal roots the most opportunity to shine nicely here. Those are where the band really gets quite a lot of mileage out of this one, and showcase the most promise overall with their style generating it’s best work overall, though the fact that it gets quite so many chances is another story here since there’s a few too many tracks featured which manage to come off a little too bloated despite a shorter running time than expected here due to the shorter tracks on the second half which really comes into making this one quite so troubling. The tracks all featured along the upper half here tend to get a little more dynamic and lively work with the more involved rhythms and longer overall running time, while the second half does get short-changed by going more for brief instrumentals and shorter arrangements, leaving this somewhat lopsided and uneven with the differences becoming quite apparent about this minor stylistic change. Beyond this though, there’s not a whole lot really working against it.
The first half has some rather enjoyable work about it. Instrumental intro ‘Dream Sequences’ takes a series of industrial noise riffing droning on into proper first track ‘Purity’ as the tight, crunchy riff-work and thrashy drumming work through a series of intense patterns with the razor-wire riffing working nicely alongside the furious drumming as the mid-section delves into a series of meandering melodic rhythms that charges back into the frantic blasting in the final half for a strong opener. ‘Awake Nightmare’ gradually works from light trinkling riffing that turns into a strong series of raging rhythms fueled by more frantic, full-throttled riff-work and pounding drumming that keeps building into the rather loose, bouncy rhythms rattling along through the finale for another rather strong and enjoyable effort. ‘Spartan Killer Instinct’ features tight, crunchy mid-tempo riff-work that explodes into utterly frantic and blasting patterns with plenty of charging up-tempo riffing bringing along the intense swirling riffing along throughout the solo section and bringing the stuttering, crunchy rhythms thrashing into the final half for an enjoyable and dynamic highlight. ‘Morbid Psychosis’ is another industrial noise collage offering a lead-in for next track ‘Mental Torture’ features swirling droning riff-work with plenty of plodding rhythms that carry on at a straightforward, simplistic chugging series of rhythms with hard-hitting-yet-simple drumming that picks up some energetic patterns driving along into the frantic final half for a decent enough if overall bland offering.
The second half is a little sub-standard but still has some solid points. ‘Psychic Paralysis’ features ravenous razor-wire riffing and plenty of blasting up-tempo drumming that settles on a frantic, up-tempo pace with a series of tight chugging riff-work alongside the more thunderous and savage pounding drumming that works through the tight finale for another rather blistering highlight. ‘End of Tunnels’ uses the sampled speech and chaotic noise to lead into next track ‘Pinhole of Diffraction’ as the savage swirling riffwork and pounding drumming burst through the chaotic opening before settling on a bouncy, mid-tempo paces with stuttering rhythms and pounding drumming that soon builds to a frantic finale for another strong effort. Bleeding through into follow-up ‘Pinhole of Diffraction (Part 2)’ with swirling stuttering rhythms with savage drumming taking the furious paces and tight riff-work alongside the savage, unrelenting drum-work that thumps along to rather enjoyable, bouncy patterns that work throughout the enjoyable finale for another rather enjoyable effort. ‘Psychotic Mass Murderer’ gradually fades into a thumping mid-tempo chug with plodding drumming and tight, stylish riffing with a light, sluggish rhythm holding loose swirling riffing into a mindless repetitive series of riffing throughout the final half for an overlong, unneeded and overall bland offering that doesn’t really belong here. Finally, album-closer ‘Soul Dissolution’ features distorted industrial noises and squealing effects driving into the classical piano notes alongside the deep droning sounds leading into the finale for another dull offering that really leaves this on a doubly bad impression.
Though it does come up a little short in the second half, there’s a whole lot of enjoyable work on display here when the band does get their sound right that this is an easy listen to fans of death fueled thrash metal or those curious about the band as they begin their careers overall.
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: Lonewolf
Release Title: The Heathen Dawn
Year: 2016
Label: Massacre Records
Genre: Heavy/Speed Metal
Tracklisting:
1.A Call to Wolves
2.Wolfsblut
3.Demon's Fire
4.Keeper of the Underworld
5.When the Angels Fall
6.Until the End
7.Rise to Victory
8.Heathen Dawn
9.Into the Blizzard
10.The Birth of a Nation
11.Song for the Fallen
The eighth full-length effort from French heavy/speed metallers Lonewolf continues on with their sound that’s been there from the start and makes this an unbelievably enjoyable release. The album carries on their tried-and-true standard of unleashing the classic heavy metal sound being brought aboard here. Mainly swinging from the more rousing, energetic patterns that contain tight, swirling and hard-hitting riffing filled with speed-metal patterns, furious straightforward marching and blistering drum-work that winds through the majority of the album here with the slow-down periods using more majestic marches with mid-tempo patterns working through the simplistic paces coming into play nicely there’s a lot of great work throughout here. While on the whole this makes for a wholly engaging time here, the whole structure of this one is what really stands-out as being the only real damaging effort throughout here the two different overall styles are split-up across here which leaves the first half rousing and energetic while the second half is slightly more mid-tempo. This is somewhat perplexing and doesn’t really offer a very smooth transition into the different sections of the album though this doesn’t diminish the content of the album as it’s more a set-up flaw than a musical one.
The first half here is where this one really stands out nicely. Opening instrumental ‘A Call to Wolves’ features epic orchestration and simplistic riffing to bridge an air of impending intrigue as proper first track ‘Wolfsblut’ bleeds through with charging melodic riff-work and dexterous drumming swirling along through galloping melodic rhythms chugging along through the main rhythm leads as the glorious backing shouts keep the steady up-tempo pace into the fiery, swirling solo section and leading along into the frantic final half for a stellar and highlight opening. ‘Demon's Fire’ uses blistering, fiery chugging riff-work and scalding up-tempo drumming propelling along into a steady mid-tempo gallop that charges through fiery thrashy rhythms leading into the twisting solo section and bringing the utterly furious speed metal riffing into the finale for another spectacular highlight. ‘Keeper of the Underworld’ features light trinkling and soft patterns in the early half before settling into a more traditional mid-tempo rhythms and plodding drumming as the more energetic patterns carry along through the dynamic solo section and carry into the charging final half for another solid, enjoyable effort. ‘When the Angels Fall’ uses discordant riff-work and plodding drumming alongside the blaring, steady bass-lines that move along through a simplistic and steady pace as the discordant patterns lead along through the steady patterns with the fiery solo section leading into the finale for a decent if unspectacular offering. ‘Until the End’ takes simplistic melodic leads over plodding, charging rhythms carries the middling tempos along throughout the first half as the change-over into more fiery melodies kicks the energy up into more charging solo section and leading the mid-tempo rhythms into the final half for a solid effort overall.
The second half is a little lower but still has a lot to offer. ‘Rise to Victory’ offers fiery up-tempo chugging rhythms and pounding drumming carrying the engaging up-tempo series of speed metal riff-work through the blistering tempos with the furious charging rhythms carrying into the dynamic solo section and keeping the energy throughout the finale for another blistering highlight. The title track takes swirling mid-tempo patterns and a strong series of melodic leads into the plodding mid-tempo patterns bringing the fiery mid-tempo sections letting the frantic rhythms carrying into the surging melodic solo section and into the final half for a solid and enjoyable effort. ‘Into the Blizzard’ takes grandiose swirling leads and charging mid-tempo riff-work leading through the sluggish opening that explodes into furious speed metal lashings with plenty of swirling leads and dynamic drumming along through the solo section and breaking along through the frantic finale for another high-energy effort. ‘The Birth of a Nation’ takes an epic and charging rhythm and stellar melodic leads through plodding mid-tempo patterns with plenty of steely epic riff-work keeping the epic grandiose rhythms along through the swirling fiery solo section and charging into the majestic march through the final half for a highly enjoyable effort overall. Finally, album-closer ‘Song for the Fallen’ takes a simplistic and majestic mid-tempo march offering plenty of plodding rhythms and straightforward riff-work allowing the dynamic epic rhythms to carry the steady, simplistic pace along throughout the sing-a-long choruses and through the majestic solo section with the bombastic energy carrying through the finale for a highly enjoyable lasting impression.
While there’s nothing really wrong here with the music on this release, the slightly disproportionate set-up of the running order is only enough of a minor let-down but not enough of a truly detrimental problem that it’s still highly recommended to fans of the bands’ previous works, the style in general or fans of classic traditional metal.
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.
Band: Necroblaspheme
Release Title: Belleville
Label: Self-Released/Independent
Year: 2015
Genre: Atmospheric Death/Black Metal
Tracklist:
1.Rempart
2.Le discours du bitume
3.How Did We Get There
4.Two Trees (DeadWood)
5.Hyperspace
6.Waiting to Exhale
7.Freed
8.The Grande Boars Haunting
9.Gouffre
10.Such a Lot
Album number three for French atmospheric deathsters Necroblaspheme, “Belleville”, manages to finally get the full use of their mixture of atmospheric chords and punishing death/black metal after toying with the sound in the previous EP release. Allowing for their past endeavors into pummeling old-school styled classic death metal, this new form isn’t as remarkable simply without the added punch that required here as instead this newfound form is lighter, more melodic and manages to come off quite a bit more relaxed in nature as the whole effort has more of a celestial-journey vibe as if the entire effort is traveling through the reaches of the cosmos. While there’s still more death metal elements abound here with the tight patterns and heavy riff-work at the forefront of many songs here before they descend into sprawling atmospheric jaunts, the lighter atmospheric work here is a little oddly placed alongside these tougher, more edgier samples makes for a disjointed work at times. It works far better here with the other addition of more black metal-influenced riff-work here as the tremolo-picked patterns are far more receptive to the sprawling celestial tone of these rhythms and manages to fit into the music on the whole much tighter and more coherently. Still, this can’t hide the fact that there’s three short instrumentals here where there really didn’t need so many, making this seem too sloppy and features too much of a start/stop feature in the middle of the album rather than the more cohesive builds at the front and back of the album and really should’ve been trimmed down or removed altogether.
On the whole, though, the songs are still rather good. Intro ‘Rempart’ uses a slow-building riff with an extended series of looping rhythms that finally turns into a sprawling series of riffs and double-bass blasts that urges forward in a rather long, monotonous repetition broken up by the dynamic drumming and swirling tremolo-picked rhythms for a fine opening blast that just takes too long to get going. ‘Le discours du bitume’ features one of the most groovy and consistently hard-hitting riffs swirling through rampant tremolo-picked series of riffs with a stylish series of choppy drumming, plodding rhythms and dynamic melodies that run throughout here for one of the most impressive efforts here. The first of the instrumentals, ‘How Did We Get There’ is easily the most skippable of them with nothing more than reverb-laden guitar squealing meant to suggest a mid-album breather but it’s too short to mean anything and the album’s only two songs in which means the need for a break is curious enough. ‘Two Trees (DeadWood)’ gets this back to normal with a tighter, sharper series of fiery riffs, blasting drumming and a more cohesive atmospheric section wandering through the middle of the track while the sprawling tempos are carried through the remainder here which makes it decent enough but still not entirely satisfying. The next instrumental, ‘Hyperspace’ shouldn’t even be here and would’ve been better served swapped with the previous instrumental and then left off altogether.
‘Waiting to Exhale’ offers forth a scalding series of tremolo-picked rhythms and blasting drumming whipping through some of the most extreme tempos on the album and mixing things up nicely with some sprawling atmospheric patterns and the occasional chug for an all-around more intensive effort. The last of the instrumentals, ‘Freed’ is the best with a haunting industrial tone and gradual build-up that makes for a fine impression overall here while segueing into ‘The Grande Boars Haunting’ with the same creepy atmospheric touch working alongside the gorgeously chilling riffs with plenty of sprawling atmospheric touches before blasting into devastating bursts of double-bass blasts and churning riff-work that makes this another fine highlight. ‘Gouffre’ is a little weird with its jangly intro, but turns into a worthwhile effort with some tight chugging, a fine series of atmospheric tremolo patterns flowing through a series of solid up-tempo melodies quite nicely that makes this a rather nice effort overall. Finale ‘Such a Lot’ offers more of the same here with a series of sprawling tremolo riff-work, blasting drumming and full-on churning rhythms here in the later half manages to pick up the intensity and urgency into the section as the pounding drumming and haunting chorus work into the finale bring this to a fine conclusion overall.
While there’s a few small pieces here and there that don’t quite hold up, there’s still some solid enough positives to really like here as they further refine and tinker with this newfound formula. It’s certainly worth a look for those into their past efforts or are completists of European extreme metal, though more ardent followers of their previous efforts should heed caution here.
