Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.
The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.
It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.
To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.
Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.
What are your expectations in metal releases in 2016?
A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.
Black Sabbath – Master of Reality
1974: (Not really metal, Black Sabbath is WAY ahead)
Deep Purple – Stormbringer
Rush – Rush
King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)
Judas Priest – Sin After Sin
Motörhead – Motörhead
Iron Maiden – Iron Maiden
Black Sabbath – Heaven and Hell
Angel Witch – Angel Witch
Cirith Ungol – Cirith Ungol
Metallica – Kill ‘Em All
Slayer – Show No Mercy
Iron Maiden – Piece of Mind
Mercyful Fate – Melissa
Manilla Road – Crystal Logic
Manowar – Into Glory Ride
Slayer – Reign in Blood
Metallica – Master of Puppets
Kreator – Pleasure to Kill
Morbid Angel – Abominations of Desolation
Sepultura – Morbid Visions
Fates Warning – Awaken the Guardian
Candlemass – Epicus Doomicus Metallicus
Sepultura – Beneath the Remains
Morbid Angel – Altars of Madness
Bolt Thrower – Realm of Chaos
Voivod – Nothingface
Helstar – Nosferatu
Powermad – Absolute Power
Rigor Mortis – Freaks
Pestilence – Consuming Impulse
Burzum – Burzum
At the Gates – The Red in the Sky is Ours
Demigod – Slumber of Sullen Eyes
Morpheus Descends – Ritual of Infinity
Therion – Beyond Sanctorum
Sinister – Cross the Styx
Amorphis – The Karelian Isthmus
Deicide – Legion
Incantation – Onward to Golgotha
Atrocity – Longing for Death
Autopsy – Mental Funeral
Cadaver – …In Pains
Asphyx – Last One on Earth
Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
Darkthrone – A Blaze in the Northern Sky
Emperor – Wrath of the Tyrant
Graveland – In the Glare of Burning Churches
Immortal – Diabolical Full Moon Mysticism
Sacramentum – Finis Malorum
Skepticism – Stormcrowfleet
Suffocation – Pierced from Within
Vader – De Profundis
Gorgoroth – The Antichrist
Graveland – Thousand Swords
Summoning – Minas Morgul
Deicide – Once Upon the Cross
Sacramentum – Far Away from the Sun
Immortal – Battles in the North
Abigor – Nachthymmen (From the Twilight Kingdom)
Funeral – Tragedies
Dissection – Storm of the Light’s Bane
Iced Earth – Burnt Offerings
Gorguts – Obscura
Vader – Black to the Blind
Incantation – Diabolical Conquest
Dawn – Slaughtersun
Sorcier des Glaces – Snowland
Angelcorpse – Exterminate
Blind Guardian – Nightfall in Middle-Earth
Symphony X – Twilight of the Gods
Rhapsody – Symphony of Enchanted Lands
Suffocation – Despise the Sun
Absurd – Asgardsrei
Soulburn – Feeding on Angels
Arghoslent – Galloping Through the Battle Ruins
Master – Faith is in Season
Skepticism – Lead and Aether
Gorguts – From Wisdom to Hate
Absu – Tara
Martyr – Extracting the Core
Lost Horizon – Awakening the World
Deeds of Flesh – Mark of the Legion
Averse Sefira – Battle’s Clarion
Graveland – Raise Your Sword!
Krieg – The Black Plague
Avzhia – The Key of Throne
Quo Vadis – Defiant Imagination
Blotted Science – The Machinations of Dementia
Avzhia – In My Domains
Krieg – The Isolationist
Burzum – Belus
Divine Eve – Vengeful and Obstinate
Atlantean Kodex – The Golden Bough
Graveland – Cold Winter Blades
Profanatica – Disgusting Blasphemies Against God
Autopsy – The Tomb Within
Overkill – Iron Bound
Decrepitaph – Beyond the Cursed Tombs
Black Sabbath – 13
Condor – Nadia
Graveland – Thunderbolts of the Gods
Satan – Life Sentence
Argus – Beyond the Martyrs
Autopsy – Headless Ritual
Profanatica – Thy Kingdom Cum
Imprecation – Satanae Tenebris Infinita
Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
As another year ends and a new one begins, many “best of” lists pop up here and there, among them our own here at DMU. While others may be eager to know about what is ever new, we are more interested in what stands the test of time. Today we will look at some albums that were highlighted here as the foremost products of the year 2013, which was a year of renewal, great comebacks, startling discoveries and a general wellspring of inspiration. In the opinion of this writer, 2013 has been the best year for metal in the 21st century.
To start off, we shall pay respects to long-lasting acts with a black metal background, namely Graveland, Summoning and Burzum. While the last has left the metal camp for good, its approach and spirit is still very much enriched by the essence of the deepest metal infused with transcendental values. Summoning is still doing their thing, ever evolving, trying a different permutation of their unique style. Fudali’s project has become the warrior at the frontlines of the strongest nationalism grounded in music that uplifts the heart with an authentic battle feeling (as opposed to those other bands playing funny-jumpy rock and acting all “dangerous”).
Sôl austan, Mâni vestan is an ambient affair that uses short loops which revolve around clear themes in each track. The approach is a little formulaic, thereby limiting the experience with a feeling of repetition. However, as with many good works of art, this self-imposed canalization serves to speed the result in a direction. As with a lot of Burzum’s work, this is a concept album that must be listened to as a whole. When this is followed and one stops looking for novelty and instead concentrates on the details that bring variation within the familiar landscape, the somewhat arduous experience brings great rewards once the summit is reached and the journey is taken more than once.
Something similar can be said of the slightly pop-minded Old Mornings Dawn. This effort by Summoning certainly lacks the density of their masterpiece, Dol Guldur, but is no less effective, although perhaps shallow. But what isn’t shallow when compared to that masterpiece? As with every Summoning album, Old Mornings Dawn has a very separate personality, and in this case, it is one of heroism, light, regeneration and hope. Something that will never leave the band’s trademark sound is the deep feeling of melancholy and longing for ruins.
Graveland materializes in Thunderbolts of the Gods one of their most warlike efforts to date in a smooth trajectory that has gone from rough-pagan to long-winded and epic to heroic war music. What raises this offering above others in Fudali’s current trend is the awesome bringing forth of destructive energies mustered in the imposing drumwork. Gone are the clumsy rhythms of Cold Winter Blades and the redneckish tone of the (nonetheless great) album Following the Voice of Blood. This is the technically polished and spirit-infused summit of this face of Graveland.
One of the most deserving releases of 2013 was Black Sabbath’s 13. More expectations could not have been placed on anyone else. Yet the godfathers of metal delivered like the monarchs they are: with original style, enviable grace, magnificent strength and latent power. Along with the last three albums just mentioned, this album shows itself timeless in the present metal landscape. It encompasses all that it is metal, and brings it back to its origin. This is an absolute grower which will age like the finest wine and is, in my opinion, the album of the year of 2013.
In 2013, Profanatica finally achieved amazing distinction with Thy Kingdom Cum, which can be considered the fully developed potential of what Ledney presented in the thoroughly enjoyable Dethrone the Son of God under the Havohej moniker. To say this is the natural outcome of Profanatica’s past work is as true as it is misleading in its implications. This is not just a continuation of what the band was doing before, but a deliberate step, a clear decision in the clear change in texture quality that means the world in such minimalist music where a simple shift in technique or modal approach defines most of the character of the music.
Cóndor’s Nadia was probably the hidden pearl of the year. Never mind the metaphor of the “diamond in the rough”, there is nothing rough about this. It is polished, but it is hidden. The shy face of this beautiful lady is covered by a veil that turns away the unworthy, the profane! This is immortal metal artwork which to uninitiated eyes and ears seems but like the simple, perhaps even amateur, collection of Sabbathian cliches and tremolo excuses of an unexperienced band. The knowledgeable and contemplating metal thinker recognizes the Platonic forms under the disfigured shapes.
Imprecation’s Satanae Tenebris Infinita and Blood Dawn by Warmaster draw our attention to the strong presence of a more humble but profoundly (though not obviously) memorable album and EP. These will stand the chance of time, but will not necessarily remain strong in the mind of a listener in a way that he feels compelled to come back to them often.
Dark Gods, Seven Billion Slaves by VON seemed more enticing at the time. It’s definitely a solid release, but it is however a very thinly populated album with more airtime than content. Whatever content it has is also not particularly engaging. The enjoyability of this one is a much more subjective affair and like a soundtrack is more dependent on extra-musical input from the listener’s imagination.
As delightful as the three heavy metal albums Argus Beyond The Martyrs, Blitzkrieg Back From Hell and Satan are, the intrinsic qualities of their selected subgenres makes them a difficult candidate for long-lasting and profound impact. That is not to say they have no lasting value. If anything, these are albums one can come back a thousand times and perhaps they will not grow that much, but they will never truly grow old.
Autopsy’s Headless Ritual is one of the strongest yet most understated albums of the year. The extremely rough character of the music may contribute to how it carelessly it can be left behind. Fans of brutal music will find it little different from the rest and will quickly forget it. Fans of wider expressions and deeper thoughts will pass it by with little interest. Such is the tragedy of this very respectable album.
A few stragglers in this group; Master’s The Witchhunt, Centurian’s Contra Rationem, Derogatory’s Above All Else, and Rudra’s RTA proved to be more impact and potential than manifest presence. These will remain fun and quaint for a very occasional listen, perhaps even a sort of throwback feeling, but lacking the long-lasting impact of others in this list.
A special mention is deserved by Into the Pantheon, the essential synthesis of Empyrium, being their most revealing, powerful and clear release. While not outwardly metal, this live recording everything that is to be metal at the level of character and spirit. As such it is the perfect closing note for this recapitulation and reevaluation of past selections.
Looking back on another fallen year, we might be reminded that the prior chapter of 2009 represented a global uprising of Death and Black Metal bands opposed to the phenomenon of underground Metal as a commodity as perpetuated by an impulsive, media-consumed, mass internet cult who denounce the culture of values which necessitated the very form of the music itself. This served to strengthen already riotous scenes of desecration and barbarity in extreme territories such as Australia and Canada, and forces across the United States and Europe began to mobilise with a renewed sense of dedication, guided by a selection of ancient voices who have not compromised their integrity to capture a new but deluded fanbase like their peers. The golden ages of Death and Black Metal have long since past and any campaigns to revive the spirit of Hessianism in Metal are not only in their infancy but vastly overshadowed by the populist trends that define the landscape of the genre today. As such, with the burden of anticipation on it’s shoulders, 2010 was by and large seized by veteran armies determined to distill the essence of their unholy craft from the impurities of our age, guiding further generations of warriors to victory. And though our imperious choices of 2010 are dominated by the hands of experience, a few young hordes also rose to the yawning of this battlefield to make bold and vigourous statements as the continuing legacy of true Metal’s eternal spirit.
Ares Kingdom – Incendiary
There is a certain door that any contemporary thrash band seeking quality must go through, a certain threshold that requires imagination and the indispensable talents of assimilation to really cross; in metal today, we see countless fragile trends that depend upon a rigid nostalgia and a lifeless worship of what has already happened, fully ignorant of the fact that what has true staying power is never something that was an idle imitation of something that was actually born of genius. In contrast to these bands, specifically the ones which belong to the so-called ‘retro-thrash’ trend, Ares Kingdom is of the opposite mindset; Ares Kingdom does not want to merely copy its primary influences, but to implement and authentically incorporate these influences into a relatively bold and forward-looking composition. The basic idea of Incendiary is quite simple: destroy the phoenix so that she may be reborn, an idea which is not so far from the opening narration of the Destroyer 666 track, Rise of the Predator. The execution, on the other hand, is what brings the band closer to actually demonstrating this vision than any other insignificant band that elects to portray death and apocalypse for aesthetic reasons alone; from the dismal album artwork to the indifference in Alex’s vocals, from the sad, painful melodies to the caustic and fiery riffs and solos that Chuck Keller (Order From Chaos) delivers, the listener can derive a sure sense of impending, even immediate doom. In conclusion, Ares Kingdom is not your average headbangin’, beer-swillin’, hell-worshipping thrash metal; ‘Incendiary’ offers us all the pace and vigour of the classic eighties bands, only it is properly assimilated and raised to a higher level through the cold visage of death metal and the individual imagination of the album’s creators. While sacrificing a bit of the rampant speed of the earlier recordings, ‘Incendiary’ compensates with a thoughtful development that is essential in allowing the band to convey its dark, apocalyptic vision; in other words, through the utility of a confident and dynamic mindset, Ares Kingdom has defiantly revealed a genuine idea independent of its forebears, and in so doing has crossed the threshold that has left so many inferior bands begging at the door.
Autopsy – The Tomb Within
Of the artists who remain from times past, under whose names were unleashed the most disturbing and poignant sounds that defined Death Metal, Autopsy belong to a radical minority in rejecting the expectations of the contemporary audience and find their way back to the essence of their own sound on pure instinct alone. While the last couple of years has seen a rising of undead hordes practicing the ancient forms in a global campaign to transcend the pollutant mainstreamification of Death Metal, very few of these bands have really unlocked the primal secrets which were channelled into every classic of the old school – the dynamics of energy and the implementation within a brutal-violent, hysteric-emotional or transcendental-contemplative narrative, which the veteran likes of Asphyx, Autopsy and Goreaphobia have all recently demonstrated. The simple, largely hysteric level that The Tomb Within operates on makes it a powerful exercise of a seamless compositional style that is completely shaped by a savage state of consciousness, unintelligent yet impulsively aware of it’s own imminent death. Like an onrush of blood pumped through contracting arteries, guitars portray the frantic inner drama of one of Dr. Herbert West’s re-animations, diametrically opposed to his precise formulations regarding post-mortem. Atonal layering in the manner of Slayer’s more pathological works increases tension during these surging passages, punctuated by lead guitars that put to rest any hope of sanity returning. The trademark sludginess of Autopsy’s sound comes from instruments that are seemingly encased in adipocere, retaining within them all the character of their most memorable titles; not aspiring for a modern, clinical definition to their riffs but instead emphasising the rhythmic flow of energy in order to convey the sensations and suffocating experience of mortal dread. The band finds the balance once again of deathly force and doomy realisations as slower riffs offset the hysteria with tollings of morbid heaviness and an inescapable fate. Though Autopsy have stripped Death Metal to an essential skeletal frame, with the added simplicity of a horror movie-like thematic approach, this EP brings a much needed dimension of fear and madness to a world obsessed with ‘zombie horror’ as a populist, retro-hipster, marketing aesthetic.
Avzhia – In My Domains
Another excellent tonal poem by this Mexican symphonic horde sees a sense of orchestration and riff balance that has all the consistency of ‘The Key Of Throne‘ from 2004, though takes a deeper foray into the realm of cinematic, ambient orchestration that recalls what Summoning have been getting at for the last 15 years, mixed with the battle hardened epics of Lord Wind. This new turn in a more heavily instrumental form recalls what fellow countrymen The Chasm brought about in the form of last year’s Farseeing The Paranormal Abysm with a little less emphasis on the central role of vocals. Though rather than the syncretic, melodic death metal of their peers, Avzhia’s black metal assault owes it’s periphery to the best works of Emperor, Graveland, Ancient, Summoning and Xibalba, throwing them into a cohesive and bombastic mould. I would not say that this tops their previous full length, but this follow up is very worthy indeed and consolidates their status as one of the great torch bearers of what black metal stood to express, the embodiment of restoring mystical imagination in the listener.
The unstoppable Rob Darken took again some time from swordfights and armour forging to take a look at the barbaric-modernist thematic system devised by composers such as Richard Wagner and Basil Poledouris, with a metallic energetic pulse rarely witnessed since Following the Voice of Blood; the last of the fast Graveland albums. The lack of Capricornus hardly matters because the authentic or perfectly synthesized drumkit recalls the same Celtic tribal warmarches and the raw, unsymmetric heartbeat of a primal man hunted by wolves, perfectly countered by the dark druid’s usual cold and hardened vocal delivery. A deeply neo-classical realization how to build heaviness through doomy speeds and chordal supplements still elevates the Polish seeker-initiator into a force far beyond today’s puny black and heathen metal “royalty”, looming beyond as a frightening presence of unrealized wisdom; nothing less than the Manowar of black metal, with no hint of irony or self-loathing. There exist two directions of expansion since the ethereal melodic chime of alfar nature in “From the Beginning of Time” is Summoning-esque (“Spear of Wotan” even features a variation of the “Marching Homewards” melody) while the harmonic perception takes a sudden dive into folkloric origins in the proto-rock riffing of “White Winged Hussary”, reminiscent of the most “redneckish” moments of the early albums. No essential component has been changed in a decade of work, but slight improvements of formula keep the mystically oriented listener spinning towards the distantly heard croaking ravens that herald the upcoming axe age, one that shall bless our corrupted world with a merciful blow from Wotan’s spear of un-death.
Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm
Recent history has borne witness to developments in Black Metal that sets the music more at war against itself than with it’s traditional enemies and time has accumulated vast quantities of debris resulting from this internal crisis of identity and credibility. The shape of all the rubble is appropriately rocky, resembling the multitude of “fairy land” daydreams based on genres of alternative popular music incorporated to gain the approval of outsiders who possess no more understanding of the wolfish, warlike and mystic poetry of Black Metal’s spiritual essence, but want to claim this ‘niche market’ as their own. Even the cloak of demonic symbology, long-since regarded as a joke to even the casual listener – little more than a generic garb for posturing and associating with the genre’s ancestors – has been accordingly stripped of all occultic luminance, which shined too fiercely over the eyes of the humanist infiltrator, such that the tears of depressive-suicidal ideologies would instantly evaporate. None of these signs of the times, however, have influenced the veteran duo of Dagon and Incubus, who, in an ultimate statement of Satanic zealotry and inhuman purity, tunnel back to the hypnotic primitivism of Black Metal’s first waves, re-formulating and refining the style of early Bathory to produce an album that reveals the inherent mystical wisdom which inspires Black Metal’s sinister imagery, with no recourse to obvious cliches nor over-intellectualisations in order to clutch at some idea of artistic credibility and potency. Based on the technique of Immortal’s ‘Pure Holocaust‘, Inquisition craft expansive yet blasting soundscapes from swirling portals of riffing immediately reminiscent of ‘The Return……‘ by Bathory in it’s Punkish brevity. These are inflected by dissonant open-chords and all manner of string-bending and sliding chaos to create a legitimate sense of increasing cosmic awareness and trans-dimensional ascension, as they circulate around each song’s central melody in a bizzarely motivic fashion. This is a component that bands such as Blut Aus Nord, who aspire to embellish their songs in such an experimental way, simply do not possess. Even the most meandering of arpeggiated open-chords don’t feel derivative as they sound out powerful and song-defining melodies rather than merely filling out time and space. Similarly to fellow Latin Americans Avzhia, Inquisition create a total sense of grandeur by bringing songs to an apex of expression through essentially simple but epic power-chord riffs. The masterful percussive transitions of Incubus guide the album fluidly between the various evolutionary elements of Inquisition’s sound, from the majestically crashing and pounding cadences of Burzum to the rolling avalanche of Immortal. Ominous Doctrines of the Perpetual Mystical Macrocosm is in many ways the album that the Blashyrkh horde should have recorded instead of ‘All Shall Fall’, as even Dagon’s toneless chanting style is somehow more expressive than past vocalisations in its similarity to Abbath. But all comparisons aside, there is no doubt as to which band reigns the Black Metal underground almost alone these days as Inquisition have created another uncompromising and profound work that no other so-called Satanists have the power to match.
The New York City borough of Brooklyn might be better known to the universal consciousness as “The Hipster Capital of the World”, “A Fantastic Place to Collect STDs”, or “Where Culture Goes to be Sodomized”, amongst other colorful and imaginative epithets. Naturally, any self-touting Metal bands originating from this region ought to be approached with utmost scrutiny, as these are all almost invariably revealed to be alternative rock acts hiding beneath a masquerade of long hair and Dionysian discord. Breaking decisively away from this brand of perfidious whoredom are nouveau death metallers Mutant Supremacy, who occupy a peculiar nexus in between Monstrosity, Dismember, and Infester — thus setting them apart from the archetypal NYDM style as well. Seemingly fueled by an intense hatred for the free-loving cosmopolitanism that surrounds them, this band constructs theatrically explosive war-anthems conceptualized around a post-nuclear-apocalyptic Hell on Earth, rife with Thrasymachan rhetoric, biological abominations, and grisly accounts of human extermination. Songwriting on this debut mostly shows a clean-cut and sharp sense of narration clearly indicative of a studied discipline in the arts of classic Slayer, although there are a few odd weak moments where stylistic confusion vomits forth a spate of old school clichés and uncompelling Flori-death/Swe-death/British Grindcore aggregates. Overall, however, there is certainly something refreshingly violent in development here, and it’s a victory to hear such a proud death knell coming from what is otherwise an utterly syphilis-addled portion of the planet.
Profanatica – Disgusting Blasphemies Against God
True to form, Profanatica release a focused, energetic and iconoclastic opus that shatters and mocks any infantile and moralistic conception of reality. Both compositionally and aesthetically powerful, the production on Disgusting Blasphemies against God is both clear and full, lending itself nicely to an analysis of its subtleties and providing the clarity necessary to gain a chuckle at the expense of nearby spectators privy to the album’s intrusive vitriol. Ledney’s vocals are hilariously clear yet retain a threateningly violent quality that is becoming of this style of Black Metal. As Ledney vomits forth his blasphemic ritual, listeners are treated to a notably ominous musical atmosphere that is uncomfortably somber, deranged and challenging. Utilizing single note tremolo picking, reminiscent of a cross between a more consonant Havohej and the effective and simple melodies of VON, Ledney in is his genius, develops motifs, that while perhaps more obvious and accessible, remain potent and successfully create an intriguing state of anxiety. These motifs both seamlessly emerge from, and return to sinister Incantation style riffs which work together to develop a unity and structural coherence that while primal and simple is undoubtedly effective. The interplay between these musical variable creates an overall experience that portends the celebration of the powerful, living and animated chthonic mysteries and perhaps more pressingly the apotheosis of their necessary destructive capacities.
Slaughter Strike – At Life’s End
Toronto’s death dealers unearth the forgotten formulas of 80s-90s extreme metal in their second offering, a follow-up to the debut cassette “A Litany of Vileness”. This punk-driven death metal statement delivered by veterans of Canadian scene (former members of The Endless Blockade and Rammer) shows no mercy: it is short, volatile and dirty. Yet, at the same time the material is well weighed and balanced, blessed with the genuine feel of old-school art. The production helps conveying old metal nostalgia whereas Spartan songwriting confronts useless acrobatic tendencies of the modern scene. The band’s uncompromising music is perfectly collaborated with artwork by Moscow artist Denis Kostromitin. Standing on the shoulders of giants like Autopsy, Carnage, Pestilence, Repulsion and Discharge these reapers managed to find a voice of their own. We can only hope that this beautifully presented vinyl-only release is a “carnal promise” of Slaughter Strike’s prospects.
Power metal band Melechesh make a riff heavy, fast and technical metal that sounds like Helstar and The Haunted colliding in midair. Middle eastern influences are subtly done, reminiscent of Nile in the way they are worked around the heavy metal aggregate of styles. Energetic and introspective.
Graveland – Cold Winter Blades
Continuing an attempt to join black metal, Dead Can Dance and epic movie soundtracks, Graveland throw more of the metal back into their music with several remixed tracks and one new that presents perhaps the most “metal” and aggressive voice for the epic yet conceived. Another way to view this: if power metal were black metal, this would be topping the charts.
Divine Eve – Vengeful and Obstinate
Stygian onrushing doom-death with a Swedish guitar sound, Divine Eve follow up on 1993’s As the Angels Weep with a new EP of mid-1990s songs reworked and restructured that make good on the promise of that early work. Although these songs are doomy, they are mid-paced and run the gamut of death and doom styles artfully.
Herpes – Doomsday 2010 Demo
Old school death metal in the Autopsy style, with more punkish/grind influences like Cianide, Herpes keeps the “partially formed” feeling of early death metal while churning out riffs that fit together like chain links swinging toward the skull of a deserving victim.
Avzhia – In My Domains
If you can imagine Graveland and Summoning combined and rendered in a style like that of early Rotting Christ, with inspiration from Emperor, you can envision this sweeping, melodic and unabashedly sentimental album that evokes the spirit of early black metal. A sense of life being full of wonderful things, mostly evil, emerges from this dark musical epic.
Decrepitaph – Beyond the Cursed Tombs
Building on the death metal of two decades ago, Decrepitaph paste together Swedish riffs with the intensity of American mid-paced death metal bands like later Master and Malevolent Creation. The resulting primal battering encourages the old school death metal form to breathe again.
Malevolent Creation – Unreleased 1987 CD
Before they joined the legions of percussive death metal bashers, Malevolent Creation were a speed metal band sounding a lot like early Forbidden, Exodus, Artillery and Assassin thrown into a blender. Expect grandiose topics, ripping riffs and purely satisfying metal from these three tracks resurrected from the vault.
Krieg – The Isolationist
Chaos black metal band Krieg combine their early neo-improv punk-influenced black metal with post-rock, creating a simple but effective organization that uses post-rock technique to make music in the bolder, braver, less self-pitying style of black metal.
Salem – Playing God and Other Short Stories
After years as a Hellhammer-influenced black metal band, Salem have joined the modern metal bandwagon and in doing so, found a voice that fits their style much better. In fact, this is one of the few modern metal releases that makes sense from start to finish, with jaunty syncopated riffs dropping into sync with vocals like later Samael.
Cruciamentum – Convocation of Crawling Chaos
Attempting to make music in that seminal intersection between old Incantation and Profanatica, Cruciamentum render a dark churning through this short demo that conveys the old school death metal spirit and its contemplative alienation.
Into Oblivion – Creation of a Monolith
Most of the progressive or experimental metal out there simply repeats experiments in other genres, which are “new” to metal but only aesthetically; Into Oblivion attempt an instrumental metal approach working through layers of motif-based riff clusters. Reminiscent of Black Flag’s “The Process of Weeding Out” if executed by Profanatica and Averse Sefira on shore leave.
Prosanctus Inferi – Pandemonic Ululations of Vesperic Palpitation
This album could well be a tribute to Fallen Christ, Dark Angel and other blistering speed bands who throw in dozens of riffs and stitch them together somehow into a single entity. High speed riffs that often use similar progressions clump together and form a super-high energy death/black metal hybrid with enthralling percussion.
Truppensturm – Salute to the Iron Emperors
Someone had to inherit the throne of Angelcorpse, and this low-tech phalanx of gnarled high-shock riffs fulfills the role and picks up in the process some of the murk of occult bands like Beherit and Blasphemy. The result is less martial organization than an exploding of raw Id, overrunning the social conditioning by which we normally live.
Celestia – Archaenae Perfectii
This flowing black metal suffers from “Kreator syndrome”: with at least two powerhouse riffs per song, it stands out during those riffs but the rest of each song is disorganized supporting material which adulterates the impact. Yet some of the more interesting black metal this year.
Overkill – Ironbound
Many metal fans out there if waterboarded would admit that they just want 1980s speed metal to return. Never fear, as Overkill brings us a collection of carefully-polished songs in the middle-period Metallica style, with small elements of Slayer and Exodus worked in. Nothing old but nothing particularly new, just a more experienced ear for songwriting re-approaching these concepts and making a modern version in the older styles.