The Lurking Fear, the H.P. Lovecraft themed Swedish death metal band featuring At the Gates members Tomas Lindberg on the mic and Adrian Erlandsson behind the kit and Jonas Stålhammar from God Macabre on guitar, is releasing their debut album Out of the Voiceless Grave August 11th on Century Media. Hopefully the rest of the record will be better than the preview track, which sounded like a simplified, phoned-in and more boring Lucky Charms version of Grotesque. Will Tomas Lindberg take off the trucker hat and put the black leather trench coat back on?
The Lurking Fear, a side project of At the Gates members including Tomas Lindberg, preview a new track, “Winged Death” from their upcoming self-titled EP that is coming out soon. The band also has an album, Out Of The Voiceless Grave, coming out August 11th on Century Media. Death Metal Underground’s staff are not giddy with anticipation but rather unsurprisingly disappointed.
Continue reading The Lurking Fear Preview “Winged Death”
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.