This is a “best of the month” list for this month, but making the title “Best of May 2015” sounds like giving too much of a spotlight for such a short span of time, and devaluating the word “Best of” somewhat, in my opinion. Therefore I chose a title to reflect reality more clearly: these are the only albums we heard of on this website this month that were decent enough to not be considered utter disgraces to the metal genre (those were in the SMRs or were ignored). The “decent” are those that show consistency in style, coherence, a direction and a clear artistic voice and goals. The “rescuable” are those that are still confused in their composition — unclear, or that seemed to be impeded from development by their own approach to music-making (or that of their own genre).
- Ascended Dead – The Advent review
- Blasphemic Cruelty – Crucible of the Infernum review
- Exhumation – Opus Death review
- Luciferian Rites – When the Light Dies review
- Necrophor – Exterminatus review
- Nekromanteion – Cosmic Horrors review
- Perversor – Anticosmocrator review
- Shroud of the Heretic – Unorthodox Equilibrium review
- Undead – False Prophecies review
- Blind Guardian – Beyond the Red Mirror review
- Bureviy – Concealed Beyond the Space review
- Dew-Scented – Intermination review
- Maruta – Remain Dystopian review
- Undergang – Døden Læger Alle Sår review
- Wende – Vorspiel einer Philosophie der Zukunft review
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.