Desultory to launch new album in fall 2015

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Swedish heavy metal/death metal band Desultory, who along with Dissection, Unanimated, and Sacramentum paved the way for legions of melodeath to follow, are back in wartime formation and planning to record a new album. The band posted the following to social media:

Ok, so finally! We´re back into the Necromorbus studio, now to record our next full lenght album. We will record during the spring and hope for a release during the fall. Thanx for all your support and patience, this album is for you!

While most of us know this band through their Metal Blade debut (and one of the first big label acknowledgements of death metal) Into Eternity, their collection of demos entitled From Beyond the Visions of Death is also quite worth attending to. It combines the melodic approach of Unanimated with a heavy metal core, which makes it both more accessible and prettier than regular death metal.

Interview with Abscession

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We have kept our eye on Swedish death metal style band Abscession who make a somewhat modern version of the classic sound of bands like Entombed and Cemetary. Their first album Grave Offerings touches down early in 2015, and has already generated interest and criticism in the metal community. We were fortunate to be able to chat with the two active members of Abscession, Thomas and Skaldir, about the band and its music.

When did Abscession form? Why did you choose the name that you did?

Skaldir: We formed in 2009 and it was important to us to choose a one word band name. Since almost every word is taken by some metal band by now, it wasn’t easy. The name also should have a classy feel. Brutal and concise. We all had bands before. Personally I had my first band in 1992, which played some kind of melodic Doom never heard before and after. I started playing piano and then later also tried guitar.

Thomas: I’ve been in various bands since the mid nineties both as a guitarist and as a vocalist. I’m a pretty lousy guitar player though so nowadays I tend to focus on the vocals. I’m also active in blackened death act Throne of Heresy, and have been in Zombie Destrüktion since 2002 together with Markus Porsklev who also plays the drums on Grave Offerings.

Your style runs the gamut from old school heavy metal through 1990s Swedish death metal and perhaps beyond. What are your current influences? Have these changed over time?

Skaldir: For me there are always some records that never get old. The first stuff I liked as a teenager, like DEATH, HELLOWEEN, EDGE OF SANITY. But I listen to a lot of different music from AOR, Progressive Rock to Death metal. And even if I have a lot of favs from the early 90s, there are happily also some new albums that can excite me from time to time.

Thomas: Well, I find it interesting to mix things up a bit and I like lots of different music. My death metal influences are mainly from Swedish style death like EDGE OF SANITY, BLOODBATH etc but I also enjoy more progressive stuff like OPETH. I always like stuff that has hooks in it but which also grows on you with every listen. I think maybe that’s where our death ‘n roll-style influences come from, since I really like that kind of stuff when it’s done in moderation. But then there’s a whole range of bands outside the realm of death metal that influence me in different ways. Everything from classic IRON MAIDEN to FIELDS OF THE NEPHILIM have had a huge impact on the way I write lyrics for example.

Where did you record Grave Offerings and how did you achieve the sound you did? Was it to your satisfaction? Would you do anything differently next time?

Skaldir: Since I am a sound engineer most of the recording was done at Studio Kalthallen.

Thomas recorded his vocals himself, and everything was mixed in my studio in the end. We decided to let Dan Swanö do the mastering.

It is a classic BOSS HM-2 guitar sound. That is a distortion pedal a lot of people will know from ENTOMBED. Actually I used two and combined two different stages of distortion and mic’ed the cabinet with three microphones. I am pretty happy with the sound, but I think next time I will rather mix a “normal” distortion” in to a HM-2 distortion.

Are the members of Abscession full-time musicians, or is this a “spare time” project?

Thomas: We’ve all got other jobs outside of the music since it’s not something we can really live on (yet…). But we’re all dedicated to this art form and see it as something more than a part time project — it’s been a part of all our lives for many years and makes us who we are.

Why, do you think, is Swedish metal 1985-1995 so legendary? Even though that was two decades ago?

Skaldir: I think it was a good time for metal in general. People just did what they liked and a lot of new genres were founded. Those old bands didn’t exactly play perfectly and the sound also wasn’t perfect at all. But it was unique and it was something never heard before. Doing something new these days isn’t so easy.

Thomas: Sweden has been a big music nation for decades with everything from ABBA to Europe paving the way. A lot of people growing up back then learned to play instruments in school and of course it all helped to pave the way for successful metal bands. Even if they didn’t play perfectly there was something experimental and organic over the music from that time which also made it interesting to listen to.

Did you ever consider composing in a newer style of metal, like metalcore or “melodic metal”? What do you think is different between those styles and the classic underground Swedish metal sound?

Skaldir: I would say we are a rather melodic Death Metal band. The style we play at the moment is exactly what we want to play, and maybe the only thing we are good at. It’s not like we want to copy the old bands, but it is just our thing to sound that way. We will develop within the sound.

Thomas: Well, I think it’s always difficult and often unnecessary to brand everything within preconceived genres. I can’t remember a single discussion over the years where we’ve said “we’re gonna play within this or this genre.” We’ve written the songs we’d like to hear ourselves within our own capacity and it’s some kind of death metal. So no, we never sat down and considered writing metalcore or melodic death, even though our songs ended up having some melodies in them. I still wouldn’t brand it melodeath since we’re nowhere in the vicinity of IN FLAMES or other melodic death bands.

How do you compose songs? Do you start with a melody, a riff, an idea, a visual concept or something else?

Skaldir: I wrote a lot of riffs on my classical guitar here when I felt like writing riffs. Then later I thought about which riffs to combine. Normally you start with one riff and the rest just happens and you just know what has to come next and how you arrange it. At least that is how it is for me.

Later Thomas will listen to the song, and the mood of the song will inspire him to write lyrics.

Thomas: Yeah, Skaldir’s music sort of paves the way for the lyrics. I often have themes or ideas in my head that I wanna write about, but I never really know where to start. But usually after a few listens to a song I find a lyric rhythm and just start putting words in there that fit with the theme I want for the song. Sometimes it becomes clear very quickly but other times the lyrics takes on a life of their own.

For example The song “Plague Bearer” on Grave Offerings was supposed to be a really rotten track about a plague victim but ended up being an allegorical and anti-religious text instead. And to be honest, it’s a much better text now than it would have been if I had stuck to the original idea.

Where do you feel your demo “Death Incarnate” and Grave Offerings differ?

Skaldir: I think having a more technical drummer on Grave Offerings is the biggest difference to the demo. The songwriting is still pretty simple with the same trademarks the demo has.

Thomas: I think we’ve sort of found our path. A three track cassette like Death Incarnate can’t show the full range of a band’s sound as well as an album. And Skaldir has worked a lot with the overall production so it all sounds fucking great!

Grave Offerings is your first signing to a label. How is that working out? What do you plan for the future? Is there a tour in the works?

Skaldir: Well the demo tape was also released by a label. Suffer Productions is a small underground label though. Final Gate is a bit bigger, but still underground. We just signed for one album and will see what will happens next. So far we are pretty happy.

Thomas: Even though the current deal is for one album only I feel confident our next release will be a label release as well. We’re actually already working on the next album so no matter if there’s a label or not, ABSCESSION will go on. As far as tours go we’re not planning anything yet, even though we’d like to at some point in the future.

If people like what they hear, where should they go to learn more about Abscession? Are the demos still available? Do you think you’ll ever tour UK or USA?

Thomas: I actually don’t know if there are any demo tapes left, maybe Suffer Productions have a few but I doubt it. There are probably some underground metal webshops that would consider trading or selling it if you look hard enough.

But it’s also available as a digital release on our bandcamp. In this digital world we’re of course also present on facebook/abscession.

That’s probably the best way to learn more about us. As for touring the UK or the US, who knows… I guess we’ll have to wait and see how big the demand is once the album is released in early 2015!

Digging further into Abscession Grave Offerings

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As the title suggests, Grave Offerings has a lot to give. In a metal world bloated with copycats, have-beens, hipsters, cultural appropriators invading the genre, imitators and true-blue kvlt types, it is rare to hear an album that is not only competent but has its own personality.

While most metal musicians focus exclusively on having memorized the major and minor scale shapes on the guitar neck, knowing the most common chord progressions and understanding the concepts of modulation and time signatures, the art of songwriting requires a different kind of technicality. Abscession rises above the herd in knowing the genre, having technical skills, and being able to write songs, but above that their repertoire is strained.

Almost every embellishment such as drum fills or guitar solos is fitting and never overbearing despite the obvious proficiency of the performers. This is not altogether uncommon but it is something that is appreciated by fans of proper music, as opposed to what my good friend Dionysus would refer to as “guitar-shop metal” or the kind of guitar tricks you show your friends but that get old really fast on an album. Grave Offerings displays a variety of Svenska Dödsmetal influences which range from the early foundational bands like Nihilist, going through Carnage, stopping by Entombed for an infusion of Death n’ Roll inclinations and all the way to fully-fledged Gothenburg sound while avoiding sounding like any one of them all the time and occasionally bringing out a voice of its own, although not often enough.

Abscession have the artistic sense to make the songs stay within an idea without wandering off topic. At the same time they do this too zealously and the music always remains so close to the germinating idea that it seems to shy away from any great variations lest they be seen as foreign. Since the songs are, on a general level, verse-chorus pop songs, there is a need for subtle ventures outside the strictly familiar to distinguish each song with a purpose unique to that song. It must effectively convey that purpose through its free expression (the previously mentioned ventures) parting from its stable basis (what was referred to as established idea and “known territory”, not foreign) as one needs a vector to have two points and a direction to effectively communicate information.

When a more distinctive idea does surface it often does so with scherzando overtones — playful, bouncy, not grim — which I find unpalatable in the context of the rigid intensity of death metal and especially in the context of Swedish death metal. This aura has traditionally replicated that of old school horror films in the best of cases and at worse has been borderline cartoonish. By indulging in the more humoresque-like passages Abscession ends up crossing the line into explicitly comic territory. This usually happens when the Death n’ Roll facet of Swedeath is explored as exemplified by the fifth track on the album: Blowtorch Blues.

Both while listening to Grave Offerings for the first time and after having listened to it seven times at the time of this writing, I had the strong feeling that the first four tracks were more than enough: there’s virtually nothing else added by the rest of the album. All in all, if we are going to allow ourselves to give safe mainstream metal from Scandinavia praise for some originality and inventiveness within their miserable sellout constraints, I would be much more inclined to extend this courtesy to the latest album by Björler’s At the Gates (as opposed to Svensson’s At the Gates): At War with Reality.

At the Gates releases teaser for At War With Reality

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Something lurks in humanity that afflicts all of our best efforts. When we create something, and then start seeing it as a tool or means to an end, the principle of its greatness is lost. It seems to occur because when the object is directed at humanity, it attends to what we think and wish were true instead of what is. Thus metal bands go from creating vast fantasy to creating ludicrous self-prostituting visions of excess to make their audience feel important, and the beauty of the music itself is lost.

This gauntlet looms over every death metal band that makes a “comeback” album two decades on and claims it is returning to the old style. Recently At the Gates made such a claim, and in face of public skepticism and vast anticipation, released a teaser. This contains about 45 seconds of music amidst the visuals and branding, so any assessment of it speaks only to that portion. The album could vary from it, although smart money says that such a turn would be anomalistic given that this snippet is what the band chose to promote the album. Nonetheless, this tiny window into the soul of At the Gates may tell us what to expect, and showcases the phenomenal production and art direction this record has received. Clearly Century Media intend to make this the metal event of the year and have every chance of succeeding.

The excerpt provided shows us At the Gates using the type of melodies they used on Terminal Spirit Disease and the second half of With Fear I Kiss the Burning Darkness which would be at home on a 1970s jazz-infused stadium rock album but in power chords take on a more sinister mood. However, these are presented with the type of frenetic riffing using internal texture to bolster the otherwise sparse melodic pattern that we see on Slaughter of the Soul and the first album from The Haunted. The result suggests some promise but lacks the developmental depth of Terminal Spirit Disease due to the intensified speed and desire to keep phrases short and hookish in a conventional manner as was used on Slaughter of the Soul.

As noted above, this track shows us only part of the album but it reveals the part that the band, label and management likely think will most appeal to the audience they are targeting. It seems that their attempt is to make a version of Slaughter of the Soul which embraces the rhythmic frenzy of The Haunted and the slightly more musical approach of mid-period At the Gates, which taps into both metalcore and Opeth audiences and should produce a best-seller for this band.

God Macabre – The Winterlong re-issued

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Relapse records slotted the re-release of God Macabre’s 1993 album The Winterlong for June 10, 2014 in the US, June 6 (Germany) and June 9 (UK/World). Situated squarely within the old school Swedish Death Metal camp, this album represents a logical extension of Entombed’s Left Hand Path. Here you will find nothing less than what one would expect of an old school Swedish Death Metal record; foreboding doom, neoclassical melody, ferocity, and nods to the dramatics of heavy metal. Complete with the infamous Sunlight Studio production, The Winterlong remains an enduring study, and will provide neophytes with new source material, remind the veterans of what once was, and thankfully become a readily available source of inspiration for years to come.

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The Heaviest Encyclopedia of Swedish Hard Rock and Heavy Metal Ever! by Janne Stark

janne_stark-the_heaviest_encyclopedia_of_swedish_hard_rock_and_heavy_metal_ever-smallSince the popularization age of search engines began, some have wondered if this spelled the impending doom of paper encyclopedias. If heavy metal is any indication, traditional methods of distributing information are still enduring.

Newly released tome from Premium Publishing, entitled The Heaviest Encyclopedia of Swedish Hard Rock and Heavy Metal Ever!, compiles information on the Swedish scene from the early 70s through the present day. Written by Janne Stark, the book lists releases from 3600 bands with short biographical information for each, notably a format reference for each album, in addition to a index searchable by both area and name. There is also a section on visual history, featuring album art and unpublished band photos.

Packaged with an accompanying CD, the book weighs in at 8.5 lbs. and 912 pages and can be picked up for $79 via the Premium Publishing webstore or $73 at Amazon. In addition, you can preview the book online.

The book contains a bonus CD of rare or never before issued tracks.

Tracklist:

  1. AMBUSH – Don´t Stop (Let Them Burn)
  2. EDDY MALM BAND – Turn In Down
  3. HELLACOASTER – Mani Jack
  4. ICE AGE – General Alert
  5. MASTER MASSIVE – Time Out Of Mind
  6. MACBETH – Sounds Of A Hurricane
  7. THE HIDDEN – For Gods Ache
  8. VOLTERGEIST – Desperate Highway
  9. PAINKILLAZ – Lost My Religion
  10. ZOOM CLUB – Walking On Stilts
  11. RAWBURT – Psycho Man
  12. MONICA MAZE BAND – Eyes Of The Living
  13. STRAITJACKETS – Stripped To The Bone

Abscession – Death Incarnate

abscession-death_incarnate-full-sizeIf you approached Slaughter of the Soul with the stylistic outlook of Left Hand Path, you would follow the path that Abscession travel on Death Incarnate. These are short, melodic songs that understand the dramatic nature of successful Swedish death metal.

Easily imitated, Swedish death metal is hard to master. The basics are simple: play d-beat drums under riffs adapted from the vocal melodies of 1970s horror film music and American guitar rock bands, then stack those against faster Black Sabbath-styled chromatic rhythm riffs. Is there really such a void between “Symptom of the Universe” and “Crawl,” or the soundtrack to Carnival of Souls and Clandestine? Not if you listen to them side-by-side.

Thus, by combining Discharge and heavy metal with horror soundtracks, the Swedes invented a new style and kicked it into high-gear with that buzzsaw dimed-Boss distortion. But while qualification in this style is easy, it quickly becomes generic. That is because to take riffs out of context, one must build up a next dramatic context to give them framing, such that the change in riff (and tempo) is symbolically and aesthetically significant to the listener.

Abscession kick off this mini-album (EP) with a lengthy intro that, while funny at a first listen as it reveals death metal obliterating the music of normals, probably isn’t going to be fun past the first couple of listens. After that, it’s into what they do best: buzz-saw rhythm riffs which give way to lengthier melodic riffs which are played in power chords instead of single-string-picked like the first At the Gates.

The result captures much of the mood from Clandestine with big bristly clouds of buzzing distortion cushioning us as a melody emerges from within, like flying through clouds and seeing the moon emerge above. Once we’ve settled into the feel of the fully mature song, Abscession give it a kick or otherwise challenge it with a dramatic transition, which requires guitarwork to wrangle the song back toward its final state of affirming order.

What makes this release stand out is how well-composed the melodies are and how the band is able to arrange riffs in a meaningful manner, even if a simple “meaning” like the sensation of a walk through a dangerous forest at night and a confrontation with mortality as the blade of a foe emerges. Riffcraft is good and focuses on the longer melodies that distinguish the professionals from the “Garage Band” weekend activists in metal at this point, and all musicianship is good, but it is the content and composition of these songs that sets Abscession ahead of the Swe-death pack.

Sadistic Metal Reviews: Retro Metal: Swedish death metal edition

Sadistic Metal Reviews started sometime in the early 00s in tribute to the reviews of fanzines from earlier eras, in which a single sentence correctly categorized a band as the type of useless filler it was and dispatched it to the cut-out sale bins of history.

The grim fact is that as in nature, in heavy metal there are a few winners, and everyone else fails. This isn’t because they are fated to do so, but because they made the wrong choices. Usually, they have no actual artistic motivation, and so are imitating other successful acts for chicks, beer, prestige, an excuse for being stoned in the basement for a decade, whatever.

A band may have spent years learning its instruments, rehearsed for months, hired a good studio, taken all the right notes and had all the right parts, but something didn’t add up. This band had nothing to say, and so no one should listen.

The guiding principle of Sadistic Metal Reviews is that no amount of surface aesthetic can cover up a lack of conviction, content and motivation within. No one can paint-by-numbers imitate, or its cousin the recombining of known styles, and hope to get anything but a polite nod and “It’s OK, I guess, if you like that kind of thing.”

With this edition, SMR takes on the retro phenomenon. Every seven years like clockwork the great factory of wannabes runs out of “new” (usually basic math, like adding two genres together and getting a mystery) ideas and decides that ripping off the past is the safest path to fame and riches.

Hence these imitators are on the altar of sacrifice, awaiting our Sadistic Metal Writers for today’s edition of SMR, which tackles possibly the worst form of retro ever… the wannabe be 1991 Swedish death metal retro.

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Our writers, from left to right: Daniel Rodriguez, Cory van der Pol, Max Bloodworth and Jon Wild.

repugnant-epitome_of_darknessRepugnant – Epitome of Darkness

Despite being disguised in every “Swedish death metal” cliche known to man, Repugnant appears to be a retro-thrash band that re-purposes early Entombed lyrics for ironic comic book appeal. This vapid gimmickry with a glossy coat betrays the similarity between this band and Ghost, with whom it shares personnel. Why not try the same shallow stunt, but dress it up as old Entombed for extra clueless metal tourist nu-fan dollars?

 

entrails-tales_from_the_morgueEntrails – Raging Death

This album of Carnage riffs played backward between stolen Nihilist d-beats feels like a flowchart experiment in paint-by-numbers Swedish death metal cliches, with added groove so that even lobotomy patients can tap their feet to it. Entrails lay claim to the early Swe-death scene, but even a blatant clone band can be aim for higher than almost passable. If you take away the buzz-saw distortion, these are just old Saxon tunes sped up with more howling.

 

evocation-illusions_of_grandeurEvocation – Illusions of Grandeur

Why do bands constantly recreate Slaughter of the Soul? Perhaps because it’s so easy to do. Evocation make forgettable muzak by giving laundry detergent commercial jingles the mid-90s Swe-death post-Deliverance-style rape treatment. This pop muzak sounds every bit as bittersweet as a sad Blink 182 song but in disguise as mid 90s Scandinavian metal to allow Century Media to market it to metalcore kids on Youtube. More “another day at the office” unremarkable mellow-deaf who are given more legitimacy than the other bands for being around in the early 90s. It’s still butt rock with polka drumming and laryngitis vocals.

 

nominon-monumentombNominon – Monumentomb

What most people got out of Swedish death metal was a certain guitar tone and vocal delivery. Complex riff arrangements, time signatures, melodies? Over their heads. So why burden the little dears with something they can’t understand? Instead, take the same music that bad Exodus clones were making in 1987 and dress it up in a “Sexy Swedish Slut Death Metal” Halloween costume. The only people who fall asleep when listening are the smart ones, and we should probably shoot them anyway.

 

hail_of_bullets-on_divine_windsHail of Bullets – On Divine Winds

Classic death metal is hard. What’s easy? Metalcore, which is any variation of metal where you use hardcore songwriting with metal riffs. Don’t worry about making the riffs make sense, just have the song go from one ludicrous riff to the next as if they were connected. Then have a mosh part. Hail of Bullets is aggressive like old school death metal turned up to ten, but disorganized so you hear mostly noise.

 

kaamos-kaamosKaamos – Kaamos

Remember all those Swedish bands who were almost up there with Entombed, but then dropped out? They dropped out because “not good enough” doesn’t mean you missed good by a hair, but a mile. Kaamos is reconstituted from also-rans in the Swedish scene and it sounds like it. These two chord riffs have zero personality mainly because their creators are obsessed with sounding Swedish. If this band were honest, Samba music would come out of the speakers instead.

 

tribulation-the_horrorTribulation – The Horror

What happens if you dress up Def Leppard in Swedish buzz-saw distortion and death metal tempo? I don’t know, because this isn’t as good as Def Leppard. It is however candy heavy metal with every third riff an AOR melodic transition but put into typical Swe-deth(tm) packaging, including Sunlight Studios (Boss Heavy Metal pedal dimed) production, wacky energetic drumming, and barfing pit bull vocals. But once you look below the surface, it’s a power ballad.

 

bloodbath-the_fathomless_masteryBloodbath – The Fathomless Mastery

Bloodbath is just a bunch of jaded guys from whine rock bands (Katatonia and Opeth) making a parody out of death metal by throwing backwards Dismember riffs into a blender alongside Pantera groove metal riffs. For credibility they add the tremolo riff from Morbid Angel’s “Dawn of the Angry” to be a sufficiently quirky lifestyle product for people who ironically wear Entombed trucker hats and talk wistfully of the early 1990s, when they were four.

 

death_breath-stinking_up_the_nightDeath Breath – Stinking Up the Night

This all-star band with Scott Carlsson (Repulsion) and Nicke Andersson (Entombed) applies the Clandestine model of pairing up horror movie motifs on guitar with d-beats. Using a rhythmic approach that alternates between Repulsion’s high-intensity riding blast and a Motorhead-derived groove, this band is competent but formulaic. It escapes the rancor derived at its genre-mates for being what seems like something closer to an honest effort.

 

morbus_chron-sleepers_in_the_rfitMorbus Chron – Sleepers In The Rift

Morbus Chron suffers from flowchart death metal syndrome: play d-beat punk played on down-tuned guitars like the old school bands, toss in a stolen Sabbath riffs to remind people of the obligatory Autopsy influence, then maybe inject a zany Demilich/Cadaver “wacky sounding” riff to come off as “outside the box” and “original.” It feels like Entombed met up with a focus group who accidentally purchased a bunch of Oxycontin and tried to replicate Autopsy’s Acts of the Unspeakable.

Grave unleashes Morbid Ascent EP

grave-morbid_ascentToday classic Swedish death metal band Grave releases its comeback EP, Morbid Ascent, featuring four tracks of death metal and a cover of a Satyricon song. The US version of this release is pressed on mustard-yellow vinyl and can be purchased Century Media.

Known for their debut album Into the Grave from the early 1990s, Grave introduced the rudimentary form of the Swedish death metal sound to a new generation who appreciated the raw intensity of their primal music. Joining a small circle of European bands who were as poundingly violent as their American counterparts, Grave became a staple before fading away in the late 1990s.

Morbid Ascent shows the band resurrecting itself in the present era and attempting to adapt its classic sound and improved technical performance to the demands of a new time, following their 2012 release Endless Procession of Souls. If you’re in Europe, you can catch Grave live on October 5 at Zombie Fest II in Oostenede, Belgium.

Side 1:
1. Venial Sin
2. Morbid Ascent
Side 2:
1. Possessed (originally by SATYRICON)
2. Epos (Risen From The Tomb – Remix)
3. Reality Of Life

Terminate – Ascending to Red Heavens

terminate-ascending_to_red_heavensAny band making music of a vaguely “Swedish style” is going to attract both absurdly high hopes and cynicism, and Terminate fulfills some expectations from each column.

Mixed emotions about Swedish-style death metal appear mainly because the recent “revival” of Swedish death metal is more like an “imitation” of the past using the bad techniques of the now. A lot of bands picked up Boss HM-2 pedals, dimed their amps and switched to flying Vs, then mixed a few classic Carnage, Nihilist and At the Gates riffs into their bog-standard death metal with the design philosophy of a cardboard box.

Terminate may or may not fall into this category, but their rendition of Swedish death metal is more like what happens now than what happened then. Its verse-chorus approach is sparse with riffs and heavy on repetition, and its songwriting is blocky, in that these riffs don’t particularly appear to relate to each other and the need to drop in a note-shifted favorite from Left Hand Path or Like an Ever-Flowing Stream cramps their songwriting. The other struggle this band faces is that their choice of notes, chords and rhythms is what we might call “obvious,” meaning that these will always be common variations of the most basic approach to writing this style of music, and they’re not particularly evocative ones.

As any reader with an IQ over his or her shoe size can guess, the overall style here is “Swedish death metal,” which is now as much TM as the Nordish foods at the front of Ikea. Terminate use the crunchy riffs that gradually create a melodic mood, although here it’s more like a side-step from crunch to melody, and build an architectural sense of the sonic space in which death metal moves. Vocals are equally gruff and guttural, sounding a lot like Carnage or Utumno on a bad day.

Ascending to Red Heavens distinguishes itself because it is not cynical toward its subject matter. The band dives right in and goes for the death metal thrills of thunderous riffs and dark passages culminating in near-nuclear levels of antagonism. Whether this rises above the average is an exercise for the reader, but at least this band, like other Swede-worshippers Disma and Decrepitaph, enjoys its subject matter and tries to be faithful to the idea of it as a whole.