Indecent and Obscene was Dismember proving that in 1993 they had became at least as proficient musicians as their seventies and eighties idols. Dave Blomqvist took over the leader guitar duties from Nicke Andersson and added Mercyful Fate-like sweep-picked leads to the bluesy, Ritchie Blackmore-influenced solos. The songs continued in the vein of filthy Pieces EP with verse chorus verse bashers. The problem was they were slowed down, less distorted, and more lazily constructed: Beneath the RemainsSepultura minus a standard deviation or two in IQ. Every time Dismember play an interesting riff on this album, they allow it to wear out its welcome through repetition in brain-dead pop song structures. That is only when they have a good, counterpointed Carnage/Dismember riff. Most of the rhythm riffs are generic Autopsy riffs; riffs Autopsy stole from Celtic Frost, who stole it from Metallica, who stole it from some NWOBHM band who took it from AC/DC or The Stooges. These riffs were used just so Dismember could construct a basic d-beat song and sweep pick Guitar World readers’ faces off.
Matti Karki sounded just as rabid as ever but in every song sprouted off the title of the song in the chorus of the song as a vocal hook. This is the same as an awful Hollywood action film script containing dialogue saying the name of the movie in the movie, eg: “This is Con Air!” or “You Only Live Twice Mr. Bond!” Idiotic bridges kill off any tension too. “Why don’t you just kill yourself?” followed by breakdown of the main rhythm riff so all the hardcore kids for whom Suffocation was too heavy could slamdance before the air guitarable solo.
Dismember on Indecent and Obscene was Nuclear-Blasted into Cannibal Corpse before Nuclear Blast mandated all their bands sellout into death/black ‘n’ roll for the Bic-flicking festival crowd. While superior to most of the laterwork out of Sweden, Indecent and Obscene never approaches the transcendent Dark Recollections and Like an Ever Flowing Stream. The only praiseworthy aspects beyond the superficial icing are Fred Estby’s creative tom fills on songs such as “Sorrowfilled”. His underrated percussion is the only part building and resolving tension in these mediocre songs. That’s simply not enough to hold hessian attention. Decent material must still be composed and Dismember didn’t bother writing any worthy of repeated listening here.
Amon Amarth is basically ‘beginner’ metal, although sometimes it’s very hard for us at DMU to hold that against them. Their latest effort, Jomsviking, comes out on March 25th and is already available for preorder from Metal Blade Records. The provided promotional video for “First Kill” continues Amon Amarth’s legacy of basic rock music with death metal aesthetics, and the fact that the band has stuck to this approach for their entire career (although their first few albums were allegedly a bit more complex) is non-news at best. After this album’s release, Amon Amarth will be going on a lengthy tour of the US with Entombed A.D and Exmortus that will last most of April and May.
More generic Swedeath in the future, as Entombed A.D released a single from their upcoming studio album. Dead Dawn is scheduled for a 2016 release. Compared to other things these musicians have recently been involved in (uh… Firespawn?), this isn’t quite as banal, but it’s still a pretty generic Swedish death metal track that tends towards rock music, or at least crust punk in disguise. You never know – this might get a thrashing closer to when it comes out on February 26th, or we might be preoccupied with more important releases (like the upcoming Voivod). In the mean time, Entombed A.D is gearing up for the Europa Blasphemia tour headlined by Behemoth.
German Death n’ Roll band Deathrite will be releasing their new full-length album Revelation of Chaos on July 24.
Featuring artwork by Mark Riddick (Mutilation Rites, Aborted, Fleshgod Apocalypse), the band’s 10-track label debut was recorded, mixed and mastered with Jan Oberg in Berlin at Hidden Planet Studio (The Ocean).
The album’s track listing is as follows:
1. Melting Skies (2:57)
2. Circle of Destruction (2:23)
3. Determinate To Rot (4:55)
4. Toxic Hammer (3:32)
5. Mayhem Remains (3:28)
6. Wrathbringer (3:03)
7. Salute To Death (1:57)
8. Swords and Revolt (3:35)
9. Predator (3:29)
10. Infernal Domination (4:59)
Every now and then as you sort through the massive stacks — about 3-5 per day on average — of albums submitted to this site, you find an honest-to-goodness tragedy. There you sigh and think, this could have been quite good, with a few relatively minor adjustments as seen from a decade away. Those adjustments would look major to someone in the year of the album release because they would involve violating what was en vogue in the moment, but aspire instead to songwriting that withstands the years.
Black Anvil, despite the somewhat ridiculous name, write quality death/doom metal in a melodic style that might be described as Dissection attempting to be Goatwhore. It keeps energy high with catchy riffs that vary within verses but keep choruses in pure infectious pop energy. At its heart, Black Anvil thinks like a doom metal band but writes uptempo melodic riffs instead because it aims for an audience with a shorter temporal span. Most of these riffs fit within well-recognized archetypes but are distinct enough not to evoke a specific band. Songs build around simple melodic progressions, under unfortunate vocals which blurt in the modern style but and while riffs do not create a sense of ongoing transfer of knowledge through changing atmosphere through experience, they fit into sensible songs which create a mood and deepen it before leaving it in a different state. Throughout it we get the sense of a rock band writing an album with the late-grindcore surge energy of Napalm Death Fear, Emptiness, Despair and translated into quasi-death metal riffing.
Had someone reached back from 2019 to this band, they would have encouraged them to drop the contemporary vocals and name, and would have encouraged greater variation in tempo and perhaps more aggressive riffs before leading into the Iron Maiden styled sweetness. As the album goes on, the band runs out of ideas and begins to rely more on crowd-pleasing technique than songwriting. Like Goatwhore, this is mostly catchy pop and less content, but here the frequency shifts more toward 80-20. A great album could have emerged from Triumvirate but what stands now is merely a good album which will be forgotten because it fades into the background of now-dead trends and never allowed itself to fully come to a point.
The Finnish band, who some compare to Impaled Nazarene and Motörhead, will unleash their mixture of hardcore punk, metal and rock ‘n’ roll with low-tech presentation and high intensity rhythms. Consisting of Vile Anarchy – Drums, J. Violatör – Guitar & Backing Vocals, and W. Horepreacher – Bass & Vocals, Wömit Angel describe their music as “fetus aborting sado-metal” and direct it toward a less serious audience.
Much like other bands in this style, including Driller Killer and Impaled Nazarene, these Finns find spectacle and shock to be as important as the music they write and so have dedicated a career to essentially trolling the metal and rock audiences that they can lure into their insanity.
Imagine that time zoomed back to the moment before Entombed came out with Wolverine Blues. It was inevitable the Motorhead- and Roky Erickson-loving Swedes would turn to death ‘n’ roll, but they lost the gnarly bassy power chords and distortion in the process.
Slaughterday fix this situation by making a hybrid between Motorhead and Left Hand Path. The riffs are crunchy power chorded and bouncy, and every three riffs there’s a melodic interlude, but the essence of this composition is a good racing beat (probably 2x as fast as Motorhead) and a chant-heavy chorus. Bluesy leads flicker in and out to give it some spice.
This isn’t quite death metal. It’s more like death metal influenced roadhouse heavy metal, and as a result, it doesn’t have the odd constructions and difficult mood passages that death metal has, but instead rocks along nicely like an older heavy metal or hard rock album, but graces itself with the dressings of older Swedish death metal.
If you like At the Gates’ Slaughter of the Soul but wish it had been a little more aggressive and violent, or wondered why Entombed went so civilized and tidy with Wolverine Blues, this demo might warm your dark heart. Its appeal is as simple and timeless as heavy metal itself, and the added Swedish guitar tone and riff technique just gives it that much more punch.