Around here, Dark Funeral is probably best known for being one of David Parland’s (Necrophobic et al, RIP) projects that later took on a life of its own as a relatively mainstream sort of black metal act, similar in streamlining, commercializing effect to bands like Dimmu Borgir or Marduk. The band’s recently announced a new studio album for 2016 through their various social media presences, although not much information about the album and its approach have been revealed yet. It’s probably going to not only be more of the same (which is typical for aging bands that don’t go for major style shifts), but also even more of the same, given that the band is commonly criticized for a lack of diversity. For a good primer on the band’s overall approach, see their 1994 debut EP, which has been reissued several times over the years with varying quantities of supplementary Bathory covers.
Fleshgod Apocalypse is probably one of the most popular Italian metal bands (sorry, Sadist), although not necessarily for the best reasons, as their maximalist, symphonic death metal ambitions aren’t matched by the same level of attention to songwriting as their Western classical inspirations. Still, they press on; King has been under construction for some time, and this cover art (painted by Eliran Kantor) is certainly part of the conceptual backing for the album. When the band revealed this artwork through Facebook, they described the “King” as “…the last stand of integrity and justice in a court infested by traitors, villains, perverts, parasites and prostitutes” and furthermore decried the decay of society’s values and standards. Does this sound familiar? Either way, writing coherent symphonic death metal represents a challenge, and we’ll probably see how it turns out closer to its release date.
Out Of Respect For The Dead is in my review queue by virtue of its artist being at least semi-famous. While Grave’s reputation on DMU is something less than stellar, the fame they achieved as part of the early (Stockholm) Swedish makes their latest work worth looking at, at least in terms of comparison to their past and other bands’ present output. “Plain Pine Box” is admittedly not a particularly interesting song, being an extremely simple and basic track reminiscent of what would happen if you simplified Celtic Frost and added extra distortion. A previously released track from this upcoming album (“Mass Grave Mass”) resembles more the band’s stereotypical sound; overall, I expect competence from future Grave if not necessarily must-have or even particularly inspiring albums.
Out Of Respect For The Dead will be available on October 16th, 2015.
In their glory days, Megadeth was always commercially #2 to Metallica – more technically proficient by far, structurally simpler, and literally #2 on the American Billboard 200 when they made their own dumbed down Black Album equivalent in Countdown to Extinction. Post-reformation Megadeth has been somewhat inconsistent about what part of their career they want to evoke, but if “Fatal Illusion” is any indication, Dystopia may very well be full of ’80s self-worship. There are some new aesthetic tweaks, like heavily processed, harmonized vocals from Dave Mustaine, but the overall structure of the song is an adequate facsimile of previous Megadeth and ’80s speed metal for commercial purposes. The current lineup of Megadeth notably features Kiko Loureiro (of Angra) and Chris Adler (from Lamb of God) in addition to its two founding Daves (Mustaine and Ellefson), although this track in isolation doesn’t really offer enough information on what their contributions to the band will sound like.
Since we quite enjoyed Satan’s previous album (Life Sentence), it only makes sense to give their latest a mention as well. Satan’s musical style is understandably descended from the popular NWOBHM styles of the late ’70s and ’80s, but also showcases some musical techniques that would become influential in the speed and power metal camps, and their most recent albums adopt a similar style with understandably better studio polish. While this followup is not set to officially release for a few weeks, the band has released a track for promotional purposes. “The Devil’s Infantry” changes little if anything from Satan’s recent past, and hopefully the rest of the album will live up to the high standards it and the previous album set for the band.
Interview video sourced from Metal Wani
The legacy of Suffocation continues, at least in some form, as the band is currently writing material for a new album, possibly to come out some time in 2016 if all goes well. Suffocation’s recent works have lacked the strong organization of their 1990s peak, and it seems unlikely that this one will be a significant improvement. However, a fiscally successful album release may lead to a new cycle of touring, and possibly a chance for our readers to see the band perform some of their old classics in a live setting. An actual review of the as-of-yet unnamed album will probably show up on this site closer to its release date.
The latest offering by Austrian Tolkien-inspired black metal band Summoning was Oath Bound from 2006, an album that “re-explore[d] the medieval and naturalistic nature of black metal” and delivered “a new chapter of full-bore dark exploration that dominates almost anything from the last ten years of this genre.”
What of the new album? The Summoning homepage reports that the guitars will be recorded this November and that Napalm Records “will put a one minute trailer to advertise the new CD on [their] homepage, that hopefully will happen around december.” According to earlier news the album will probably be released during the first quarter of 2013.
In the meantime, our forum members have expressed a few requests concerning the future release, including varying the melodies and song structures within songs, cutting down on the drums and using instruments that are “less fruity”.