Death metal band Skinless will be releasing their first full-length album in a long time, Only The Ruthless Remain. The Skinless play a brand of mainstream-ed NYDM produced as loud as possible and simplified for mass consumption.
The album will be out on June 2. You can preview the album through one of the tracks being streamed on Soundcloud.
Ascended Dead is a death metal band that intentionally keeps the production of their music lo-fi. Here, we may recognize two things. The first is the appeal to a sense of nostalgia that this sort of distorted tone may cause in fans of old underground metal. The second is that this choice is part of the band’s aesthetic choice and it contributes in a musical way. The latter is never fully acknowledged even by fans of this particular sound, resorting to embarrassed appeals to “guilty pleasure”.
Now, onto the music. In The Advent, Ascended Dead have brought together a collection of distinct but compatible sources in which, if we squint really hard and try to pierce the fog created by the artistic voice of the band, we can recognize the grindy, obscure, riff-salad Finnish spirit. One or two of the songs even betrays the influence of Demilich in its use of short, clear but twisted melody line motifs, but doesn’t go as far as to imitate the older band. The reference is no more than a head nod.
The Advent consists of a solidly integrated style. Ascended Dead’s songs are balanced and clear-headed in direction, while remaining organic, in line with the riff salad tradition. Riffs balance relationship with each other while introducing the tension needed to move forward, towards a new idea that comes as a massive waterfall releasing the potential energy channeled and incremented in the perfectly-defined course of a river of tumultuous waters. Despite all its merits, the artist’s most difficult task has yet to be completed in this project: finding its own voice. Displaying a musical awareness with which only true musicians are blessed, Ascended Dead give us an album that, although itself powerful, foreshadows possible works that will tower above the vast majority of death metal of our times.
Undead plays a well-tried formula of simple, middle-paced death metal while achieving effective songwriting. At times we can hear a tinge of Scandinavian sound, while some other parts scream out early and straight up U.S. death metal like Obituary or Death in Spiritual Healing. This isn’t as complex, structure-wise, as Cause of Death (which isn’t very complex to begin with either), and so approaches Schuldiner’s ultra simplistic death metal much more. Having mentioned both bands, fans of James Murphy’s work in them will not be disappointed with the soloing in False Prophecies.
This album shows the perfect balance between variety of content and consistency in style with clarity of voice. Songs do not sound like they are based on a template (even if they are, the important thing is that they do not appear like they are, that is the final product), but you can easily recognize them as belonging together. As in any album with good songwriting, the mood and character of riffs from one section of the song flows and dives into the next, carrying the listener forward without the obstacle of forced expressions. This style is heavily based on introducing appropriate variations in riff character without deviating from the mood at all.
The weaknesses of this album may lie in individual riffs, which in the end does more merit to the songwriting abilities of these gentlemen. This is to say, if you make a boring riff, sound appropriate, useful, and driving because of its context, then you have succeeded in your task as a composer. Still, this minor complaint will be on the minds of metalheads as it is the nature of the genre to look forward to strong riffs, the muscles of metal, even more important in the straight forward style of Undead.
Playing a cavernous underground music, Undergang have crystallized a style in Døden Læger Alle Sår that harks back to the sound not only of obvious Scandinavian forefathers but also to that of Morpheus Descends and Demoncy. Rather than spiraling through serpentine corridors as Incantation does, Undergang uses vocabulary from the Swedeath lingo here, and then the atmospheric death metal riff of Morpheus Descends there, only to descend into a the more inconspicuous atmospheric tremoloing of Demoncy to further the expression. Enriching this mixture of influences, we can also find unexpected doom-like moments with the economical and spacious approach of Worship.
Even though all these are present in Døden Læger Alle Sår, the style parade that a collection of influences often results in is not present here. It is also very important to stress that Undergang does not fall into trope repetition nor does it wink at the listener with a cliche here and a cliche there. The band expertly appropriates the different stylistic conventions under a overall Swedish death metal mantle and, more impressively, escapes the cliches of the latter as well. The reason why it can work is because the grindy Nihilist, the American Morpheus Descends and the decorative ends in Demoncy and Worship – like breaths are all compatible. It is only unfortunate that while all this has been accomplished, Undergang’s own voice still seems only visible as a blurry image behind this coherent, translucid tapestry.
Two weeks away from the release of their next full-length album, Obliteration, Entrails are giving the public a small taste of what is to come. Captured by guitarist Jimmy Lundqvist at his own Bloodshed Studios and mixed and mastered by the famous musician and producer Dan Swanö (Edge Of Sanity, Bloodbath, Aeon, Hail Of Bullets etc.) at Unisound, Obliteration is a nine-track old-school Swedish death metal album.
Producer Dan Swanö commented:
I guess Entrails have sold their souls to the Devil because there is no other way to explain how a band that’s been doing the same style of SweDeath for more than twenty years, can keep making better and better records! In fact, some of the tracks on this album are among the best death metal songs I have ever heard. Such a great album…it pisses me off!
Being a split, it is necessary to judge both bands here separately and the release itself as a whole. Both bands play death metal, but while the former is provisioned with a modern war-doom arsenal, the latter seem at least partially influenced by Scandinavian old-school black/death tremolo riffing. The production itself is much more clear and powerful in Into Oblivion’s songs.
Into Oblivion play death metal in a combination of modern voices including saturated style of war metal and the heavy, doom-oriented riffing of certain sludge bands. The more impetuous of these is reminiscent of Teitanblood or Heresiarch, except it is difficult to distinguish an original personality present in Into Oblivion’s music. Individually, some sections are engaging, even mesmerizing and beautiful (the beginning of By this Marvel Overthrown) but as a whole, the result is far from outstanding. Construction of the songs could be deemed lazy and/or cheap, advancing through alternations of saturated and doom textures by inserting riffs that are played until their momentum runs out and its balancing counterpart is inserted, and not according to a direction or necessity of expression in the music.
Disinterred also play with this alternation of fast and slow sections, except that Disinterred is better able to maintain a train of thought and expand it. The songs in this latter half seem more mature, the converging styles in it being more difficult to disentangle, a more solid product arising from a clear vision making use of its influences. One can also observe the use of saturation, but instead of a modern war metal, we have a disguised and worked Scandinavian spell at work. A strong advice for Disinterred would be to get rid of the triggered drums and do away with the cheap double-bass-drum-saturated drum fills that sound like Godflesh Apocalypse hiding its lack of ideas. This second half of the split brings a visible shape into focus, a haunting shadow reflecting the maddened character of the music. Still, it is only a vague shadow which Disinterred have not finished summoning just yet.
At this point, Oblivion’s Oceans shows us what is mostly a soulless collection of voices. Despite this, there is some promise in the music. Personally, this writer would not place too much hope on the nature of these bands changing or growing much as the nature of proper death metal bands itself seems to be monolithic. Any attempt to change them often results in their destruction and watering down. Few manage achieving the required reincarnation, often coming to life again as a simpler life form.
Boston-Quebec old-school technical death metalers Zealotry have announced that Alex Zalatan (Inhumatus) will be joining their ranks as the band’s permanent drummer. Zalatan will be in charge of percussion duties for Zealotry’s upcoming sophomore release, The Last Witness. Besides mastermind Roman Temin, Zealotry’s line up also includes Phil Tougas, single member of the project Chthe’ilist, on lead guitars.
Zealotry have made the following announcement on their facebook page:
It is with great pleasure that we announce today that for the first time in our history Zealotry has a permanent drummer.
Alex Zalatan, also of Inhumatus, Cymatics and Burial Moss.
Alex will be performing on our upcoming second album The Last Witness and any future shows we play. We’re very excited abut having someone of his considerable talents behind the drum kit for us.
A demo of what is to come in the second album was uploaded in 2014 and can be heard here.
In order to help death metallers make a smooth transition into string quartets, the first edition of this series presented the reader with two quartets that are superficially and at least partially, in terms of a simplistic judgement of mood, akin to underground death metal. Today, we will venture into a territory that is equally relevant to metal, composition-wise, not because metal artists compose in this way, but as I suggested last time, because there are many ideas relating to refinement that could be extrapolated and applied in a death metal context. In order to make this transition smoothly, one of the quartets introduced in this second edition is still superficially dark in atmosphere.
Wolfgang Amadeus Mozart: String Quartet No. 19, “Dissonance”
Nicknamed after the prominent dissonances right at beginning of the first movement, it was the last of six quartets that Mozart dedicated to Haydn, who defined the classical way to write for string quartets. Even Beethoven recalls a before-and-after marked by the study of Haydn’s quartets. Mozart describes these quartets as “the culmination of a long and laborious effort” and many think it is the display of composer’s finest faculties.
As with any string quartet, the listener is encouraged to pay attention to each moment, absorb it, but not dwell on it. References to the exercise in dissonance application to an otherwise strict style can be found in other places in the quartet. A challenge may be to spot where this happens. We can start trying to wait for the moment in the second movement when the cello receives a leading line and the rest of the instruments play dissonant harmonies around it.
An important influence to many from Benjamin Britten to King Crimson’s Robert Fripp, Bartók’s string quartets’ particular sound owed a great deal to the composer’s extensive field research on European folk music. Paul Wilson in his book, The Music of Béla Bartók, wrote that it was this research that allowed the composer to rid himself of the “tyrannical rule of the major and minor keys, leading eventually to a new conception of the chromatic scale, every tone of which came to be considered of equal value and could be used freely and independently.”. The astute and attentive observer may note that this, Bartók’s fourth string quartet, uses no prominent themes (complete musical expressions in themselves), but advances through developing motifs (musical cryptograms) only.
Colombian true living Death Metal legends MASACRE have inked a deal with Xtreem Music for the European version of their latest album “Brutal Aggre666ion”, the 5th in their long career for this band formed back in 1988 that has built a truly incorruptible cult status as one of the most mythic south american bands ever!!
First released only for the colombian territory through the band’s own label Mórbida Prod. in October 2014, “Brutal Aggre666ion” is another solid step in the band’s discography, showing a truly brutal form of Death Metal in their traditional style, empowered, once again, by the production skills of HATE ETERNAL/ ex-MORBID ANGEL’s Erik Rutan at his own Mana Studios in Tampa, Florida.
Track listing for “Brutal Aggre666ion” is as follows:
1. La Guerra
4. War in Hell
5. Donde Habital el Mal
6. Satanic Peace Agreement
7. Reality Death
8. The Calm Before the Storm
9. Valle de la Muerte