Article contributed to Death Metal Underground by George Psalmanazer.
Judas Priest started life as just another Led Zeppelin influenced band in the early 1970s. Quickly they became massively influenced by Black Sabbath and especially Thin Lizzy. Priest adapting the counterpointed riffing and harmonzied melodic guitar leads of Thin Lizzy into a mixture of progressive rock and the then new heavy metal of Black Sabbath but with operatic vocals instead of Ozzy “singing” the riff through his nose kicked off the New Wave of British Heavy Metal in the late 1970s.
There is no real difference between Dawn of the Nine and an album from a more mainstream Viking themed death metal themed heavy rock band (which, at this point in the history of the universe, means Amon Amarth). Sure, Unleashed is less consonant and theoretically more chromatic, but you’re still listening to an especially standardized and formulaic pop music product, even if Unleashed arguably sticks closer to their original sound than the rest of Nihilist’s progeny. Still, Dawn of the Nine is at least one way to feed metalheads the infamous “death’n’roll” sound without them complaining… at least not immediately.
On this album, like others before it, Unleashed sticks to the arena rock end of the pop sphere. Consonant, monophonic melodic riffing over generic drumming, no real bass, and unvarying vocal technique probably brings to mind many of the other generic, basal Swedeath styled albums we’ve rejected over the years. The songwriting here, though, is unusually fixated on the repetition of simple choruses to a degree that few bands dare approach, even when they’re just as obvious. Therein lies the tragedy of Unleashed, at least in the present – the guitarists have developed a sense of melody and rhythm that would be well suited towards writing good narrative (albeit probably more traditionally styled) metal. At points, there are some genuinely interesting musical elements being thrown around, but rarely if ever are they developed upon because, shockingly enough, it’s time for the song’s chorus. Other times, the musicians toss around extremely basic musical ideas for what are presumably commercial reasons, but that at least is common throughout the industry, and even then you can justify the occasional basic break in the middle of a track as part of an effort to write a more dynamic and interesting song.
What particularly strikes me about my own opinions on Dawn of the Nine is how close they are to previous site writings on new Unleashed recordings. The emphasis on tired, overly basic rock tropes weakens the entire album beyond what its also predictable strengths of musicianship and production can recover. It’s usually not this incredibly obvious on the recordings of this band’s contemporaries, though, but someday they too may need to pander especially hard to the blockheads to retain their underground cred.
The most recent album from Unleashed, Odalheim, is simultaneously the best and worst of days for this band. On the plus side, Unleashed have improved at editing down their material so it all flows smoothly and doesn’t ramble. On the downside, the band have adopted a style that is equal parts Dissection and The Haunted, which makes for an almost satisfying heavy metal experience ruined by kiddie rock band style antics on the level of nu-metal.
Let us be honest: djent is nu-metal for people who like jazz fusion. It’s slightly more subtle. The djent influence filtered into metal through The Haunted after At the Gates (just down the street from Meshuggah, who are the progenitors of djent). When metalcore came about with The Haunted, it wrapped djent, math rock, and melodic speed metal into one package. The result is a binary rotation between some really excellent heavy metal riffing with melody and the kind of bouncy daycare-sensibility music that made speed metal get dumb and wrecked death metal wherever it appeared.
People who need lots of internal rhythm of a similar sort to keep their interest are dumb. This is why we laugh at bands who overplay their drums in an attempt to conceal basically boring songs. If it sucks, just add lots of internal syncopation and delay your final beats just a sixteenth past audience expectation. It’s like Pavlovian terriers watching the mailman arrive. This part of this album is dumb. There is no other word for it, thus this is the best term: dumb. Repetition disguised as surprise. Only for idiots.
Odalheim is thus the album we wish Unleashed had made years ago. Tight, efficient and beautiful. If Shadows in the Deep had been more balanced, it might rise to this level of clean impact; if Where No Life Dwells had this amount of melody, we might find it mesmerizing. However, the glitch is that this album is barely death metal, but more like a mix between melodic heavy metal and bounce-metal, itself a proxy for nu-metal.
Albums like Odalheim are why black metal railed against trends: no mosh, no core, no fun, no trends. Odalheim obediently chases the late black metal trend, the melodicy heavy metal trend, the metalcore trend and the djent trend. These musicians do a great job of linking them all together, but the end result is like soup made by tossing every ingredient in your fridge into a pot of boiling water: muddled, disgusting.
That means that, while I can admire aspects of this album, I never want to hear it again. The dumb parts drown out the melodic material and the lack of definitive style obliterates its efficiency. There is almost nothing communicated here, only a background mood composed of beauty and bounce. It repeats itself. Nothing changes. Like heat death in a crowded room, Odalheim slowly dominates by repetition. And then? And then there is no will to resist. Nor to enjoy.
Back in August, we revealed that Triptykon had begun finalizing their second record. We can now report that the band has announced further information concerning the album.
Entitled Melana Chasmata, the second Triptykon opus will be released on April 14th via Prowling Death Records and distributed through Century Media. Song titles and descriptions for Melana Chasmata suggest it to be in a similar vein to the Monotheist/Eparistera Daimones era, with allusions to Crowleyan occultism and personal reflection.
We have been working on Melana Chasmata for some three years, in various shapes and forms. It’s not an easy album by any means, and to me personally it reflects an extremely complex gestation period, musically, spiritually, and, due to certain circumstances in my life, emotionally. At the same time, the album unquestionably reflects the continuity I was longing for so much during Celtic Frost’s period of self-destruction and demise. Hearing Triptykon creating such utter darkness again while exploring the potential of these new songs has been incredibly invigorating and inspiring.
Additionally, the band announced initial dates for the album’s touring season. The band will once again be participating in the Roadburn Festival, which was host to the event Triptykon curated in 2010, launching their first worldwide tour.
A “War Metal Maniac” calling himself “Nokturnal Thrall to 7-11, Glutinous Devourer of Transmogrified Phallus” submitted a story of an encounter of his to Death Metal Underground in light of Gorgowocoa’s recent revelations of disgusting degeneracy.
Arghoslent hailing from Virginia, USA are another one of those so-called “melodic death metal” bands with hardly anything in common with death metal at all. Rather Arghoslent play plain old heavy metal. Unlike their lame contemporaries from Gothenburg, Sweden, Arghoslent were once an effective heavy metal band who initially continued the work of their idols that past European power metal bands had merely emasculated. Arghoslent themselves would eventually stumble into these same stadium rock sins but not on Arsenal of Glory.