Deiphago – Into the Eye of Satan (2015)

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Playing a mixture between the primitive South American black metal of Sarcofago, the unrelenting and mindlessly simplistic assault that borders on comedy of Marduk and something of its own, Deiphago’s Into the Eye of Satan is both a highlight and representation of half-cooked modern nostalgia metal. The references to the influences are pretty clear for someone to see and even though Deiphago escapes them and proposes something of their own, the sections in which we hear the older voices are two transparent. Rather than an integration of influences, we hear quotes to other composers in the midst of Deiphago’s maddened ramblings.

These raptures proper of a madman that Into the Eye of Satan exposes us to are as endearing as they are nonsensical. It makes one think of the epileptic attacks that Colombian’s Parabellum subjected the listener to. The difference is that the Latin American savant band actually produced coherent music within the wild and often disorienting music that nonetheless had a clear large-scale plan. Deiphago on the other hand attacks the listener with pure chaos, subjecting it to passages that border on noise improvisation and structures that appear to  consist of haphazardly placed extreme-sounding sections. The theme here is chaos, the destruction of music and ideas themselves while the picture is not completely given up on. While not incurring in the sin of trying to become atmosphere itself nor becoming self-referential symbols, Into the Eye of Satan sadly still falls short of a year’s highlight due to what I perceive to be compositional laziness and/or lack of controlling musical notions in spite of a solid artistic vision.

 

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Atreides –Cosmos (2015)

Atreides - Cosmos (Front)

So, Atreides, another power metal band. Why review a mediocre power metal band? To warn the newbies and upcoming artists against possible blunders. To show in which these blunders are built, how they are constituted and why is it that they suck so much. Playing according to a tradition in any subgenre of metal is not a sin itself, it is blind copying of ideas without any noticeable voice to set you apart what represents an insult to metal.

Atreides embodies everything that is wrong with most metal from Spain and Latin America: self referential music that is more concerned with appearances than with musical development.  This is not limited to heavy and power metal, although these are the two most violated subgenres in those countries, but can even be applied to death and black metal from the same areas as well. The songs end up being paper-thin collections of tropes belonging to the subgenres they claim to adhere to. Despite their almost transparent epic metal guise, Atreides’ Cosmos has more in common with glam metal than it does with Candlemass or Iron Maiden.

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Alustrium – A Tunnel to Eden (2015)

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Coming from the depths of that technical death metal with strong bases in metalcore, Alustrium’s A Tunnel to Eden is perhaps intentionally misleading with its title and an intro that could make anyone think one is about to listen to a power metal album of the cheesiest saccharine minstrel metal. However, what they give us is a view of the most easily dismissed metalcore. What makes this album so pedestrian is its blatant reference to genre tropes on the one hand and the upholding the worse sins against music that this genre perpetrates on a common basis.

First of all, there is no intention of creating a theme for the songs, nor is there any intention to maintaining any sort of musical coherence. Every section is aimed at creating a rhythmic hook, while relation with adjacent sections and riffs is not important at all, only the shock induced by the change is important.  Basically, this is a pop attack. The fact that it is “extreme” music does not hide its candy-ass popular nature to the discerning listener.

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Aion – Verses of Perdition (2015)

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Aion’s music falls into that territory between war metal or atmospheric death metal mistaken for black metal on account of its superficial attempt at creating atmosphere that results in simple meandering. As metal, for reasons that have been explained before on this website time and again, this release fails catastrophically. So perhaps we are listening to this in the wrong way. Perhaps as listeners we are not judging the music on its own terms. Since this does not accommodate the requirements of traditional metal of any kind, how about we take this as ambient music? How does this compare to Biosphere’s Substrata or Klaus Schulze’s Cyborg? Very poorly indeed. Verses of Perdition cannot be compared to Schulze’s work because the man’s work is too goal/conclusion-oriented.

Perhaps a more impressionistic interpretation is more apt for this sort of straight-up repetition of passages for atmospheric effect. In my view, this type of music still fails even if its criticism is taken that far away from metal, since impressionist music still needs a build up and a direction of some sort. Even Debussy’s pictorial approach is not reduced to such self-absorbed attempts at making the music become the atmosphere itself. The problem runs deep and a safe advice for any band is to avoid this route as it will only create vague visages and excuses for music.

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Abyssion – Luonnon harmonia ja vihreä liekki (2015)

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Abyssion is an industrial metal band hailing from Finland, a land that typically has been cradle to some of the most pensive underground metal. Abyssion plays music in that same spirit while remaining pretty accessible, making transparent music that can be absorbed on first listen by any experienced listener.  There more of the indie and the Oi! than the traditional black metal in this music.

While some may feel the temptation to describe this in relation to Burzum based on the music’s most superficial traits and on passing and distracted observations, Abyssion’s Luonnon harmonia ja vihreä liekki has a lot more in common with Darkthrone’s early black metal albums. The difference with either is still clear to anyone intimately acquainted with Burzum or Darkthrone. Burzum’s developmental variations have no parallel in Abyssion’s music, which works with straight-up repetition and synth distraction. Even in contrast with Darkthrone’s dense riffing, Abyssion appears more sparse as it is a more blatant attempt at creating atmosphere.

Here in lies the trap: the artist is not trying to create music but the effect of the music. When music becomes about the effect, an imbalance is created through which the music is no longer solid, nor is the effect lasting, since it is self-referential and insincere. Still, Abyssion’s offering is consistent in style and faithful to a spirit. Recommended as a gateway band for fans of Muse into the spirit of underground metal.

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Shroud of the Heretic – Unorthodox Equilibrium (2015)

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Skillfully bringing together doom/death, modern atmospheric and war metal styles, Unorthodox Equilibrium is more than a fitting name for describing the musical approach used in this album. Bands playing in any of the aforementioned styles have typically fallen prey to different misconceptions. Some have failed by attempting to adopt an orthodox position simplified to the precept that genre cliches guide songwriting and that the result will be good if it “feels good”. Others have taken a route that attempts to bring more original ideas into the mix but whose ultimate goal is still that each section gives them a certain feeling, an “atmospheric/ambient” effect. We can summarize the cause of these blunders by saying that their approach has been too pleasure-oriented.

In Unorthodox Equilibrium we can hear familiar voices bearing the mark of Worship in Last Tape Before Doomsday, Disembowelment (I refuse to follow ridiculous indications as to what letters should be written in uppercase format) in Transcendence into the Peripheral and Esoteric in Paragon of Dissonance.  Unlike them, though, Shroud of the Heretic only slightly avoids falling into complacency with the immediate effect of their arrangements and instead channels these as methods used measuredly. The band manages to promote a sense of movement in each section while maintaining atmosphere without depending on stagnating in the harmony within one section or getting anchored to one kind of texture or intensity level for too long.  This makes the album an incredibly varied experience within the non-restrictive but focused confines of a florid and eloquently coherent language.

Independently of whether this was a conscious decision or not, the heterodox and non-monolithic composition route taken by Shroud of the Heretic avoids this atmospheric metal trap and represents an excellent indicator of an artistically healthy direction for this subgenre of metal.

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Perversor – Anticosmocrator (2015)

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Perversor play a fast and ripping minimalist death metal which some would be tempted to encase in the line of primitive South American so-called black metal were it not for the strong structural development so strongly evident in the detail-intense songs which defeat any accusations of purely atmosphere-oriented thinking. In fact, Anticosmocrator gives us the opportunity to contrast their more musical approach to that of bands with a more vague and atmosphere-building composition mindset. This difference lies in the importance of keeping a balance between evocation and solid musical construction.

While Perversor fills all the requirements to be classified beside any atmosphere-minded bands like those playing war metal, for instance, it far outdoes them by virtue of achieving solid development of ideas in the composition of their songs. Typically, Perversor will take a fast riff and develop both variations on the riffs or transitioning into riffs that are easily recognized as being related to the previous ideas through the interval relations in the patterns used while the rhythms and register are changed. This is a formula that is easily summarized but which nonetheless requires great skill to apply and expand to create convincing songs that both take the listener from a beginning to a distinct ending yet do not exceed the natural reach of the riffs and ideas used.

This is the sort of release that is excellent but will not turn the heads of those who are always on the look out for bands thinking “out of the box” as if that were the whole basis of good music. Perversor compose songs on a solid basis and while not diverging or breaking any limits, create evocative, musically competent and whole music that should be at the top of any discerning metalhead’s list for 2015 .

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Mefitic – Woes of Mortal Devotion (2015)

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Attempting to create an atmospheric kind of death metal, Mefitic build their style on alternating sections of slow, assertive chords in simple rhythms and droning/fluttering, tremolo-propulsed, slowly-advancing melodies and motifs, both usually played in low registers to maintain the aura of heaviness. Unfortunately this is all that there is to say about this album. The description of a superficial traits is all that can be said for it, as the music construction is based on it and therefore paper-thin. The reason why it still deserves a review of its own is twofold. First of all, it gives us the opportunity to point out the deficiency of this songwriting approach, and second because Mefitic remains consistent and coherent throughout the whole album, which is more than can be said of the vast majority of releases.

While we must acknowledge the focus that Mefitic has displayed throughout the whole album, the overall result must be judged and its limitations pointed out. The consistency in color and expression is laudable and should be emphasized as an example of consistent songwriting. The limitations lie in the music being too riff-oriented and the goals remaining superficial, being completely bent on a sort of evocation and heaviness, leaving the musical composition as secondary. While in metal we consider that this is generally ideal, solid and effective composition should not be disregarded in favor of  writing atmosphere-oriented sections that are lined up one after another. Solid composition gives a clear direction, an intricate picture to be discovered through subsequent listens. Forgetting about it leaves you open to the danger of painting a confused or too-general a picture that remains too mystic, indicating a way but not undertaking it.We condemn Woes of Mortal Devotion because this is all it achieves: the building of a foggy and general atmosphere that doesn’t solidify into a clear picture of anything.

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Maruta – Remain Dystopian (2015)

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Sporting the grindcore label, Maruta try very hard and not altogether without failure to insert technical deathcore riffcraft into a grindcore overall approach. While the technical abilities of the band is not in question as the musicianship in this album is superb and clinically precise, and neither is their creativity challenged, as they remain in focus in terms of style and approach through and through as they bring distinct ideas into the album, the premise of it all is not entirely convincing.  The reason for this is that the carnival approach that the technical deathcore, although not completely incompatible with grindcore, is deficient by nature, bringing down the music against the effort of a talented band like Maruta.

 

Grindcore is known for short songs with abrupt beginnings and endings. The genre is characterized by spasmodic outbursts of madness with ventures into heavy and slightly groovy mid-paced sections whose focus remains on the brutality and aura of the music. All this is achieved by Maruta on Remain Dystopian, however, this is only the superficial description of the genre, the first impression it gives to an audience, and this is where most bands, including this one, get trapped. The grindcore of early Napalm Death, Blood or Repulsion can be described in that way, each with different percentages and variations of said description, but there is something that sets them apart from the crowd and it is that at the construction level, the relation between riffs is still carefully maintained. In Impulse to Destroy, Blood remains fluid through riff transitions even when the they switch between speeds or intensity levels, the smoothness within the song is maintained. At the risk of sounding contradictory, I would venture to say that even relatively abrupt transitions remained smoothed out through execution of small fills or very brief affectations that are characteristic of Blood.  Maruta, on the other hand, obfuscate the music with the carnival approach of modern metal bands, creating interest through surprise instead of coherence and build up.

 

All in all Remain Dystopian is a far more accomplished effort than the vast majority of its contemporaries and fans of the genre should keep one eye on them. While fans of modern metal call this incoherence of the music “experimentation” and “nonconformity”, it all boils down to a lazy gimmick. Maruta has the technical chops, and they definitely have the vision as their focused compositions show us, but the chosen direction is perhaps not the best. Were Maruta to correct this direction and it is possible we would have a modern giant of grindcore in the making.

 

 

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Dew-Scented – Intermination (2015)

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Having been called everything from thrash to death or melodic death metal, Dew-Scented play metalcore in its original inception, as inspired by At the Gates’ style on Slaughter of the Soul.  Everything from the simple drums which half of the time fall into variations of fast d-beats, catchy and short melodic ideas on the guitars with a tendency towards breakdowns for variety, to the blatant imitation of Tomas Lindberg. Being an heir to this tradition reviled by the fans of the old school styles and hailed as an improvement and distillation of the best aspects of the older music by the mainstream audience, Intermination invites a comparison with At the Gates’ come back album released last year, At War with Reality.

While the seminal band tried to bridge a gap between fans of its older and later styles by taking its metalcore-founding album and introducing more complex elements as visited in Terminal Spirit Disease and vaguely from With Fear I Kiss the Burning Darkness, thereby creating a middle-of-the-road offering that pleased neither group, Dew-Scented plant themselves solidly on the style developed in Slaughter of the Soul and part faithfully from there to create variations without bringing down the delicate and extremely constricted walls delimiting the definition of this minimalist, extreme pop genre.

Being the catchy, duple-time riff-fest that this genre is, Dew-Scented do a phenomenal job at creating solid, punching riffs which if not necessarily connect concretely with each other too well throughout a song (given the shock-oriented nature of this modern style), go a long way to maintain the drive of songs by switching and keeping the overall feel, avoiding the over-use of a particular riff. Without any ill-will towards this talented band, we must clarify that the album presents a very flat result, which is a necessary result of the definition of the genre as driven by impacting riffs and sonic shock tactics. The tight upholding of ideals of the genre in Dew-Scented’s hands, even with their carefully and appropriately crafted variations, becomes a hindrance in the context of a crippling genre.

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