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MacabreEternal

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Blog Entries posted by MacabreEternal

  1. MacabreEternal
    I call false album title.  There's no doom on here folks.  Any flare-wearing readers can stand down at this point of the review.  I imagine the doom aspect of the title refers to the medieval threat of some Tolkien inspired fictitious army that Summoning have kindly recorded a soundtrack for.  If you are familiar with Summoning there's little in the way of anything new here as the Austrians again bring their own brand of epic/atmospheric black metal to 2018.  I would be interested to know what @Requiem makes of it of course as I imagine this album could accompany many night of his sat at home alone playing Warhammer.  
    The problem I have with "With Doom We Come" is that it doesn't really "go" anywhere.  It could quite easily all be one track with seven pauses given the sound and structure varies very little from track to track.  That is not to say it is a bad album, it just drips into the water without ever making a real "splosh" at any point.  There's the usual gruff vocal style and occasional chanting over keys galore whilst the guitar just sits in the corner with a tea and some crossword books to bide the time one presumes.
    Sarcasm aside, fans of the band will like this albeit without any truly remarkable moments to cement it as a stand out album.  Usually, I can't sit and listen to Summoning without doing something else and this made a great accompaniment to some shelves I hung this morning, very rousing at times to the point of making me forget about my hangover altogether.  The atmospheric magic never really finds any identifiable peak though, beautiful though the record is at times nothing really stands out overall.
    2.5 Horns out of 5 
  2. MacabreEternal
    After a few changes of band name, Valgrinder and Prokrustes Thanatos eventually settled on the name Förgjord (Swedish for 'destroyed') and since 2001 have been releasing demos, compilations, full lengths and splits.  "Ajasta Ikuisuuteen" was the debut full length release from 2008 on Hammer of Hate Records and is probably not a record you would hear discussed in the same pages as releases from Horna, Behexen or Beherit.
    The most prominent factor in the sound of "Ajasta Ikuisuuteen" is its barbaric crudity coupled with a clunky and cumbersome sense of melancholic melody, delivered at times with an almost obvious lack of playing skill and instrumental prowess.  After the instrumental opening of "Alkusoitto" with its vaguely entrancing draw, pulling you into some dark, dank and fathomless void you are straight into the slow picked intro to "Kristuksen Malja, Ruumis Ja Veri" with the off kilter timing of the picked strings that eventually start to build cleverly into a solid riffing pattern over spoken word incantations, that eventually gives way to authentic second wave tremolo guitar riffs as good as any Norwegian outfit could deliver.  It sounds bewildering to describe but in fact comes together really well.
    As clunky and awkward as the track sounds to start with the pacing is done well, creating a great sense of an increase of intensity whilst thundering along with some good ole' fashioned punky undercurrent at the same time.  The instruments sit very well in the mix, considering that production values are not top of the agenda here, even in the midst of the frantic pace, double layered vocals and suffocating melancholy of "Veljeskunta" you can hear the motoring of the bass whilst still being aware that the drums are still there (perhaps low in the mix or maybe just a little bit bordering on the lost side of things) tapping along as required.
     

     
    As the pace changes in "Suohauta" show, Förgjord can work really well as a cohesive force without necessarily having to be masters of their instruments.  They are even happy to throw in an atmospheric piano outro to the track to add some further depth to the sound.  Vocally you get some pretty standard Black Metal croaking for your buck here, but these croaks are delivered with sufficient venom to remind you that these are not the ramblings of some insane old man, they are the sputum laced rasps of a band in their prime, sharing their Satanic devotion in a frenzied and authentic manner.
    With its use of song structure, the record feels like it is more melodic in direction than it actually comes across as being in reality.  The more melancholic and icy cold piano and slow picked sections don't ever seem out of place, however limited they are in range or skill, even when they appear during the progression of a fast-paced BM assault of a track.  The primitiveness seems to add to the melancholy and atmosphere without detracting from the more forceful passages of the tracks.
    I think the real treat in "Ajasta..." lies in the layers that you have to peel back like some ghastly autopsy on a leathery, decayed corpse.  There's some real work involved in places to get under the skin but you surprisingly find flowing streams of life hidden beneath the hide.  In other places the flesh appears to fall away easier only for you to find that there are still some horrific sights, smells and sounds that are as putrid as they look at first glance.
    (as promised @Balor, @Fjara)
  3. MacabreEternal
    The first entry in this new blog section celebrating the Finnish BM scene is dedicated to one of the finest split releases I have ever heard.  In July 2004, Grievantee Productions released this split EP from two of the most established and revered acts on the BM scene in Finland.  A split of real contrast, this offering gave two sides of the coin in every aspect.  The lo-fi production of Horna with the shrieking vocals of Corvus at the front of the delivery giving marked difference to the scathing yet melodic attack of Behexen.
    I have read much criticism of Horna's contribution and to some degree I can understand this.  The almost soulless performance sounds empty and devoid of depth in some ways.  Yet this in so many ways is also why it works so well for me.  The performance sounds authentic and atavistic, like the awakening of something believed to be long-dead and forgotten, now brought back to some living/undead state to unleash its ancient threat on an unsuspecting world.  Punky stabs underpin the relentless delivery giving space for some respectful foot stomping as well as neck snapping.
    The grim and dank nature of Horna's four tracks here match perfectly the artwork that adorns (this version) of the release.  It feels like Finnish BM, full of such cold hatred and pure, unbridled suffering.  Its grimness punctuated by the already mentioned vocal prowess of Corvus.  Horna here remind me of the understated riffing of Darkthrone elevated in an absolute maelstrom of pitch black darkness.
     

    By way of contrast, Behexen have a cleaner sound from the off.  Obviously more melodic yet still racing and aggressive to make them marginally more accessible than Horna.  Hoath's vocals are more buried in the mix than Corvus' but the intense gallop and scathing delivery somehow elevates them just enough.  There's definitely more of a feeling of there being a "wall" of noise  on the Behexen contribution but the tracks themselves have a more discernible series of transitions that fill the soundscape perfectly, permeating the parts Horna's contribution cannot reach.
    Despite the marked difference in production values, the Behexen tracks compliment the Horna ones perfectly (and vice the versa).  The combination of the two styles make the EP a triumph of opposites and I find this EP works really well on shuffle to emphasise this.  Of the Behexen tracks, "A Distant Call From Darkness" is my preferred choice with its blend of galloping riffage, scathing vocals and melancholic melody.  The guitar sound on this track is fucking pandemic level infectious! 
    I would encourage any BM fan to purchase and embrace this most essential of Finnish BM releases.
     
    5/5
  4. MacabreEternal
    Two reviews in one weekend?  All work and no play makes Macca a dull boy!  Wait a minute...not when I am reviewing top notch releases such as the latest from Overkill and Candlemass.  I mean it is like I fell asleep on Thursday night and woke up in the eighties on Friday morning.  Like Overkill, the Swedish doom legends are enjoying a new lease of life, this time in the form of Johan Languist (yes,him) who returns to the band after a 32 year gap to ingratiate the memories of anyone with a copy of "Epicus Doomicus Metallicus" and an original Master of Puppets t-shirt.
    Candlemass 2019 are epic.  I mean in terms of the sound at least.  This plays more like an epic heavy metal record as opposed to a doom record.  Yeah, the heavy drudging riffs are still there but there's a real sense sword-wielding, bicep popping warriors flanked by women in metal underwear sat on spiky horses type fantasy.  Opening track "Splendor Demon Majesty" is an unashamedly dark opener full of occult promise that pulls of a perfect balance of menacing worship of evil deities whilst also pacing superbly to open the album strongly.  Even the most doomy tracks here are still laden with such vocal stylings. "Astorolus - the Great Octopus" (great fucking song title) is an obvious choice here, even given Iommi's input it still doesn't stray to far away from the epic nature the song title and feels well balanced.  It rumbles and rolls like a great Octopus would do assisted by some superb lead work along the way that stab through the menacing atmosphere.  Likewise, the gallop of "Death's Wheel" drops down in pace to doomy depths for the chorus to become one of the nearest experiences to the 1986 debut heard on here.
    Let's be honest though folks, this isn't "Epicus..." part two.  Not that anyone really wanted that though, right?  On its own, "The Door to Doom" stands up as a fantastic record for a band who haven't released anything notable since "Tales of Creation".  It is not that recognisable as a Candlemass record though which will no doubt get the diehards moaning into their retro flares and skull effect candlestick holders whilst crying into their earthen drinking vessels full of mead.  The only real reminders on here of the doom relationship is the fact that the record on the whole reminds me of a much better version of "13".  As I sit listening to "Black Trinity" I hear so much similarity to numerous tracks from Sabbath's last full length that I had to look twice in the instrumental parts to make sure I didn't the library on shuffle. 

    That withstanding, "House of Doom" is a superb doomy romp with monumental riffage and pace and horror themed synths to build the atmosphere to boot.  This was on the the EP of the same name from last year and is probably may favourite track on here certainly in terms of its authenticity to the Candlemass sound of old, chiming church bells ringing to fade as the track closes.  If anything the record gets doomier the final 2 tracks.  Check out the riffs on "The Omega Circle" if you still need your bed wetting from some punishing doom metal before the band signs off on a job well done.
    There is only really two criticisms I can level at the record, one being the utterly pointless filler of "Bridge of the Blind", a crap ballad dropped in after just 3 tracks of excellence is just out of place both in terms of the timing of its placement and the marked difference in pace from the rest of the album.  Secondly, too many tracks start the same way.  There's about 3 or 4 that start with some slow picked strings and Languist crooning as an introduction to the tracks proper.  It just gets old after the second or third time even though on each occasion the track is soon hit by an epic riff or stomping pace change, 
    Sadly, if it wasn't for the shit ballad this album would have afforded a higher rating as it makes very few bad steps along it's length.  Buy it for the love of metal though, not just because it's Candlemass.
     
    4/5
  5. MacabreEternal
    Full length number 19 from overkill certainly makes a splash in the energy stakes, I mean there's some modern thrash bands that are a good two decades younger than Overkill who can only hope to achieve the levels of spunk that New Jersey's finest produce here.  That in itself is an achievement, for a band of Overkill's stature and reputation to be able to still sound relevant four decades into their career is no mean feat.  Even in the albums weaker moments it never gets redundant and the energy levels remain high.  There's a real sense of a band in a state of some renewed vigour, helped in no small part by the addition of Jason Bittner on drums.  The former Flotsam & Jetsam skinsman is nothing short of superb throughout "The Wings of War" and seems to have squeezed a little extra out of the rest of his peers.
    The album kicks of with a great build to opening track "Last Man Standing" and for the first 4 tracks of the album the Overkill crew stomp, bash and groove their way to a solid level of consistency.  The lead work is of particular note and Blitz sounds as sneery and scathing as ever.  The album is well produced and mixed too with all parts of the thrash machine audible as the five piece hammer away at your skull with the usual blend of chugging riffs and infectious anthems.  It isn't even all thrash either, one thing that is also obvious in abundance here is the melody present throughout all 10 tracks.

    There are weak moments as mentioned but they are more a victim of how good the strong tracks are.  In it's own right "Distortion" is a solid enough - if not slightly varied a journey from the last offering - but it just doesn't stand up well against a "Bat Shit Crazy" or a "Head of a Pin".  As the album draws to a close you get the increasing impression that the last few tracks are rescued really by some great solos and stomping skin work which is a shame because trimming of a couple of tracks may have made this less obvious.  That having been said, last track "Hole in My Soul" is a cracking finisher.  As I said though, the energy level is consistently high and there's a real sense of the band having created something they can be really proud of.
    I am scoring this a 4 out of 5 just for the fact that even at the mediocre stages the album is still another great example of the old guard giving a Metal Music 101 lesson to all aspiring young metal bands out there.  
    4/5
  6. MacabreEternal
    Last Rotting Christ album I enjoyed?  "Triarchy of Lost Lovers".  Last Rotting Christ album I bothered to listen to upon release?  "Aealo".  It is fair to say that the Greek stalwarts of the Black Metal scene now have a sound that rarely ventures into the territory so well tread on "Thy Mighty Contract" and "Non Serviam" but it is also fair to say that "The Heretics" sounds from start to finish like a band who firmly stamp themselves on the metal map for 2019.  What album number thirteen from Rotting Christ does is take a measured approach to variation and repetition to build a memorable and lasting experience.
    The sound itself goes from dark and brooding metal and hard rock to almost Gothic metal proportions.  Yet at the same time that familiar melodic warmth remains in situ throughout.  More often than not there's that big soaring melodic riff riding the vocals like a surfer with his board.  "The Voice of the Universe" does this superbly as does "The Sons of Hell".  The overall feel the record as a whole leaves me with is one of ritualistic allure, tracks like "Hallowed Be Thy Name" and "Fire God and Fear" build well like powerful incantations being cited from voluminous tomes, flooding forwards intermittently with flowing dark melodies.

    It does remind me a lot of Behemoth ("The Satanist" Behemoth, not last years pompous bollocks Behemoth), with the theme of religion so heavily referenced but at the same time it feels like a much more cohesive effort than recent Behemoth keeping a level of consistency and restraint to the songwriting which holds the attention well.  Only once does the album visit anything like Black Metal on "I Believe", here they base a poem by Nikolaos Kazantzakis at the centre of the chaotic and frantic pace and sadly it fails miserably on my ears, coming across as just filler.  My only other criticism is that it does get a bit samey in places (namely the intros to each track).  Otherwise it is a perfectly respectable piece of dark metal.  C'mon, we can't this black metal anymore folks.
     
    3/5
  7. MacabreEternal
    So here I am reviewing the new Drudkh album...oh...wait a minute...no apparently it isn't Drudkh, it is Windswept.  A quick look on the internet tells me that Windswept are Drudkh minus keyboards in terms of members.  Therefore Windswept is just a less atmospheric version of Drudkh?  That's not really a question as I have heard "The Onlooker" and I know it is in fact a statement of truth.
    I don't get it.  If I want to hear a Drudkh record I will just put one on.  Similarly, if I was a member of Drudkh and I wanted to make a new record, I'd just pick up the phone to my bandmates and start the writing process.  The fact that the majority of the band have made a different band just to not have atmosphere seems a little grandiose to me, although I get that the stylistic integrity of Drudkh is maintained. 
    It isn't that the album is bad.  Perfectly solid and driving, melodic BM cleverly framed by a music box intro and outro is what you get here folks.  It just sounds so much like Drudkh I can't get my head around the fact that it is just a below par Drudkh offering.  The one thing the record is crying out for is some atmosphere - THE FUCKING IRONY!

    If you can forget the existence of a Ukranian BM band called Drudkh, or perhaps have just been born into the world of BM and have no previous concept of the 3 band members here being involved in anything else then you will no doubt easily spot the merits of "The Onlooker".  For me it served no other purpose than to give me a really short review to write this week (and to put some Drudkh on).
    Based on it's merit as a standalone album = 3/5
    Hideously critical mind of a Drudkh fan rating = 2/5
  8. MacabreEternal
    When it comes to death/doom, variety is not necessarily top of the average listener's appeal list.  Usually when I review such a release I find myself typing "doesn't reinvent the wheel but does the genre justice with this solid offering" or words to that effect.  Ossuarium's debut full length falls under that banner most definitely.  Nobody is fucking around here with a saxophone to make the offering standout with some eclectic and unnecessary deviation from tradition.  If you like your death metal doomy or your doom metal deathy then chalk up a tick in your respective box folks!
    As predictable as the "Incantation influences aplenty on show here" references are, what "Living Tomb" does do is show some variety in terms of the band wearing their influences on their sleeves.  Yes, Incantation is an obvious comparison but I also get the clumsy and cloying lead work of Autopsy in here too.  There's also clever, atmospheric structures in places you wouldn't expect, like mid-track on the superbly titled "Vomiting Black Death" which remind me of dISEMBOWELMENT.
    What is also obvious after a couple of listens though is the production job, in terms of how bad it is on the whole.  It sounds like the rhythm section has cloth over it and yes, I get that the genre is supposed to sound gloomy but this isn't good gloomy, this is (slightly) muffled gloomy and that detracts from the whole experience unfortunately as I find it quite noticeable.  The slower sections of most songs suffer more obviously with this and so I find this is where the brain switches off or goes wandering.

    Let's not get too bogged down in production though as the skill of the band is still obvious and we can just imagine how strong the sophomore release is gonna be if they get that production/mix issue ironed out.  The potential of Ossuarium is as huge as the riffs and as intense as the melancholic leads that guide on this dank journey.  The artwork here depicts perfectly what you get on the record.  Big looming structures, menacing atmospheres and ugly sounds (check out the guitar at the start of "Writhing in Emptiness").  These boys can write and play also and you will struggle to find better built death/doom this side of Spectral Voice and Tomb Mold, it just needs a better environment to really show all these good bits off a bit better.
     
    3.5/5
  9. MacabreEternal
    The roar has always been approaching.  As far back as three years ago when Altarage dropped their debut full length 'Nihl', this scribe could already hear the threat of their ability, feel the menace of their presence from over hills far away and sense the nefarious intent as the raw fury howled over my skin.  Sophomore effort 'Endinghent' further cemented the prowess of these blackened death metal Basque country residents.  Although slightly less of an impact than the opening salvo of 'Nihl' it was obvious throughout their second offering that Altarage were refining their strategy and making the style of attack more calculated.
    Album number three is no longer an approach though.  It's an arrival.  Arguably now on a par with the bastion of death metal chaos that are Portal now, Altarage are right up there with their own stamp on the principles of this most unwelcoming and inaccessible form of extreme metal.  What they did so well on 'Nihl' was shift multiple times the pace, atmosphere and direction of a track.  Doing so with such effortless and frankly unexpected subtlety that I just could not be anything but astounded.  At the same time they could drop a grinding slab of unrelenting, blackened fury with scant regard for pacing or measure and still have my jaw on the floor.  'The Approaching Roar' takes those foundations and adds maturity, dexterity and skilled songwriting to them to produce some complex and yet - in parts - more accessible pieces of Altarage.

    Last year's Portal release 'Ion,' saw the band's sound lifted out of the traditionally murky depths that familiarised their sound, in favour of a more coherent aesthetic - which worked well.  Altarage are still firmly writhing in their own filth and murk here, despite the odd glimpse of a clearer stab of accessibility.  The menacing flamenco promise of the acoustic intro for opening track 'Sighting' is the first flash of this but in mere seconds the full on face stripping fury that we all know is coming is right there, detaching retinas and bursting ear drums.  Even just one track in, the shifting/morphing of pace is obvious and the hidden melody of the final minute is reminiscent of your mum playing Smooth FM in the another room, just audible over the chaos that envelopes you at that time.
    'Knowledge' is a big, chunky riffing monster of a track that builds like an army getting into formation for some devastating attack on the enemy.  'Urn' takes a brave step at track number three on the record by building a hazy and funereal intro that sounds like a dial slowly being notched up over a couple of minutes.  Eventually (of course), the gates of hell themselves are then flung open with abrasive vocals and churning instrumentation.  It is at this point that I first fell the drums are a little to low in the mix sometimes, stifled of air a bit by being a part of the roaring chaos as opposed to being allowed to breath a little at times.  Again the song-shifting occurs here with the final two minutes of the track being some of the most coherent Altarage to date.
    As you take in the ebb and flow of 'Hieroglyphic Certainty' and obscure grinding riffs and tribal percussion of 'Inhabitant' it occurs to you that this listening experience is akin to a very cleverly engineered virus, the strain of which threatens to consume your entire existence.  The deftness of the structure of 'Chaworos Sephelin' with its haunting, lo-fi cello tinged atmosphere that gives way to the crashing fury of waves of pummelling riffs and percussion is a joy to behold.  The final two tracks finish the album just as we started it, still full of ideas and dripping with the promise of still better things to come.
    Altarage might be shrouded in mystery with their secretive nature (the Members tab on their page of Encyclopaedia Metallum says "none") but the music that they deliver shows them sharing only the most potent and valuable artefacts from the darkness which they inhabit.  The roar is now and always will be with you.
    5/5
  10. MacabreEternal
    There's life in the old dog yet it seems.  In terms of original members only Phil Fasciana remains in the ranks of Malevolent Creation now and after the passing of Brett Hoffman last year you could almost forgive fans for thinking the curtain had fallen on Malevolent Creation.  The fact is that whilst "The 13th Beast" reinvents no wheels it does exhibit the sound of a band in the throes of something of a regeneration phase.  There's nothing tired sounding here, no dull interludes to build unnecessary atmosphere.  As soon as the spoken word intro to "End the Torture" finishes it is straight up thrashing death metal until the very end, some 11 tracks later.
    Although all debuting in the Malevolent full length stakes here, the 3 musicians that join Fasciana on this record are all clearly capable and qualified purveyors of their art form.  Again, I highlight that this is not far above your average DM record yet it is so assured and solid you can easily forgive it to some degree.  Lee Wollenschlaeger gives a good acquittal of himself as an established and competent vocalist, filling Hoffman's shoes nicely.  Phil Cancilla is a machine on those skins, blasting his way across the soundscape yet also using the percussion well when the occasional let up in the pace permits.  Fasciana and Wollenschlaeger work well together to keep the chug of the riffs motoring along whilst Gibbs plonks, twangs and rumbles his way through every track, allowed to be heard in the mix and show his variety without ever showboating.  For a band together for only 2 years as a four piece they sound tight and committed.
    There's no metal fan worth the denim their patches are sewn onto that doesn't look at that album cover and mouth a "fuck me, dude!"  I mean, come on, it is fucking awesome.  Like a more ornamental Predator head on a ghostly green background.  I love it when album covers are matched by the content of the record inside, and whilst there are obviously some shortfalls here, still in the main "The 13th Beast" delivers.  When they keep the track length short and succinct, Malevolent Creation are at their best.  "The Beast Awakened", "Agony for the Chosen" and "Knife at Hand" all kick serious ass.  By the same token "Born of Pain" at nearly 7 minutes long doesn't really do anything or go anywhere to justify the length attributed to it.
    Overall, I would have preferred a shorter record.  At 11 tracks the band cover a lot of ground in under 50 minutes but not all of it really needs treading.  That withstanding, never does it get grating and still the accessibility factor remains consistent enough to forgive the extra excursions present.
    So, having started slowly, January 2019 has finally delivered something worthwhile and a first physical purchase also of a new release for this year.  3/5
     
  11. MacabreEternal
    Variety is the spice of life, so they say.  Someone might want to mention this to Legion of the Damned.  Picking up right were Venom left off last week in the the generic stakes, "Slaves of the Shadow Realm" churns out largely unvaried, unremarkable and unmemorable thrash metal with the odd splash of death and black metal smatterings here and there.  To give you some idea of how hard going this is I have to wait three whole tracks to here a lead guitar!  I love good chug fest as much as the next man but when it is the only flavour in the dish its impact on the palette diminishes quickly.
    I can't honestly tell if the album is supposed to be one long song accidentally edited to give gaps to give the illusion of it being several tracks?  Some tracks just start very lazy (Slaves of the Southern Cross) whilst others just allude to some slight break of pace from the previous track before going off on the exact same pace, in the exact same direction (Nocturnal Commando).
    The frustration is that when they get it at least half right and vary things just a touch, they can put together some enjoyable pieces (Warhounds of Hades) but the memorability factor still struggles to register much above a 0, even in these moments.

    By far the pinnacle of the record is "Black Banners in Flames", a menacing thrasher of a track that allows for some relent in the ferocity stakes to apply some melody to create that aforementioned menace.  Otherwise I feel that I have had a sub par meal at a restaurant.  The chefs are perfectly competent (no Michelin stars here though folks) and the ingredients are all of reasonable quality, sourced responsibly enough, but there's little attempt at seasoning and so everything just seems bland.  It sounds like the vocalist is holding this together really.  Swinkel's performance on all tracks is obviously a notch up from his band mates' which is a shame because he deserves better really.
    Painfully, I streamed the version with two bonus tracks on, which didn't help me digest this any better.  That having been said "Priest Hunt" is way stronger than most of the regular tracks available here.
    2/5 (2019 is not starting well)
  12. MacabreEternal
    So, my first review of 2019 is of the latest offering from UK legends Venom.  37 years after the debut full length and the band are still active, albeit as a much changed line up from that which recorded "Welcome to Hell".  I'll be honest, I haven't bothered with Venom beyond "At War With Satan", so I really had a blank slate in terms of expectations when I put "Storm The Gates" on this afternoon. 
    To say it is generic is something of an understatement.  Each track just morphs into the next, displaying no discernible milestones to give any track a shred of memorability.  The instrumentation is capable enough and competently performed but to record 13 tracks of the same structure and format gains no favour with these ears I am afraid.  Riffs become beyond infectious and hit pandemic levels of boredom when given this level of over play.  Yes, they chug and occasionally show real promise of bite but this is fucking Venom guys, not some Friday night cover band down the Rams Head with a £2 a pint Happy Hour.  Where's the menace?  Where's the atmosphere?  And, no I don't expect "Black Metal" part 2 or a follow up to "At War With Satan" but this at times sounds like Cronos is in a band with one of his kids and their mates, all competent musicians but not really doing justice to what is promised by the names involved.
    If we look back at 2018 and to Saxon and Judas Priest, we can see easily two acts still writing entertaining and stylistically recognisable material without having to try that hard.  It is hard to make 13 tracks of the same format sound like you are trying too hard, but the fact is that Cronos and Co. are doing such a monolithic job of flogging a dead horse it just comes across as exactly that.  The overarching part of Venom I enjoyed was the fun, (dark) comedy edge to the band - even if they did take themselves seriously when I never could - but this has a real mood hoover run over the shagpile here, sucking any creativity, energy or integrity out for good.

     
    I am supposed to balance my reviews with both positive as well as negative, but I am fucking struggling here folks.  Erm...the artwork is competent and that band logo still gives me pangs of past glories.  That's about as far as I can force the good vibes with this.  So, there you go.  Review number one of 2019 and it is a record that chalks up a rating that means the only way is up from here for the year (although, sadly the same probably isn't true for Venom).
    0/5
  13. MacabreEternal
    At the start of pulling this list together I had thought it to have been a "light" year for BM releases.  It was only when I got into compiling my "Best of 2018" that I realised it had in fact been quite a good year.  2018 in BM saw the return of some well established acts, some of them doing what they have always done well whereas others took to the recording studios minus long standing members.  When all is said and done, I think it all turned out rather well.
    Honorable Mentions
    It is a Top 10 folks and sadly not everyone has a place, so appreciative nods in the general direction of:
    Shining "X-Varg Utan Flock"; Alghazanth "Eight Coffin Nails"; Summoning "With Doom We Come"; Varathron "Patriarchs of Evil" and Watain "Trident Wolf Eclipse".
    10. Panopticon "The Scars of Man on the Once Nameless Wilderness I & II"
    By far the latest release on the list in terms of me catching up with it.  Usual atmospheric BM goodness on disc 1 and not too shabby folk/bluegrass/dark americana on disc 2.  Does grow on me the more I listen.
    9. Wallachia "Monumental Heresy"
    A recent revisit to this album boosted it into the list. Those lush orchestrations supply a great foundation to those tremolo riffs and acoustic passages throughout "Monumental Heresy".  Nice work.
    8. Wiegedood "De Doden Hebben Het Goed II"
    Aggression is the name of the game here, as death and anger are thrust at you from every corner.  Can pass you by completely if you don't give it proper attention, and doing so will reap rich rewards as there is so much going on here beneath the surface.
    7. Die Kunst Der Finsternis "Queen of Owls"
    Another fine slab of vampiric,  gothic and horrific BM from Sweden's finest lord of the night.  This truly is the art of darkness at work right here.
    6. Craft "White Noise and Black Metal"
    Dodgy record title aside, Craft return with a real class release some seven years after their last outing.  Catchy and scathing at the same time, the Swedes fifth full length make it two back to back releases from the country of IKEA into my top 10.
    5. Drudkh "They Often See Dreams About the Spring"
    Still no bad releases from Drudkh after 15 years of atmospheric BM.  The atmosphere is just as prevalent as ever on release number 11, built into the intelligent song structures and mature riffing and growling we have all become ever so familiar with. There is just no getting away from the feeling of vastness on this record as it swallows you up track by track.  Sadly this is also its main flaw as the attention required to fully enjoy this is a little too intense for my aged metal brain, otherwise it could have placed higher.
    4. Immortal "Northern Chaos Gods"
    Abbath who?  I mean this is one the most Immortal sounding Immortal albums ever, right?  Showing Demonaz as the real songwriting force behind Immortal, "Northern Chaos Gods" is just chock full of FUCKING RIFFS MAN!  I mean play this in a dark room, get up to switch the light and you will trip over at least 4 riffs whilst trying to get to the light switch!  They have song called "Blacker of Worlds" on here, I mean if that doesn't get your average corpse paint laden BM teenager wet then there's no hope for humanity.
    3. Marduk "Viktoria"
    Ok, this caught me completely off guard.  I mean, pants down, around the ankles, pooing in a bag, in a forest in hi-vis work gear - caught off guard!  Now I have stopped shitting in the woods like some giant luminous bear I am just having the time of my life listening to the short, sharp yet thoroughly enjoyable blasturbation of Marduk.  Cold and melancholic melodies swirl throughout the album and fill your head like for days afterwards.
    2. Sargeist "Unbound"
    Another band that simply can do no wrong in my book is Sargeist.  I am at the point now where I listen to each new release with trepidation, just in case this is the one that drops a bollock the weight of Finland itself as the band have decided to go all Euro Pop!  Thankfully, "Unbound" is most definitely not Euro Pop.  It is a furiously trve representation of Sargeist's traditional sound that is complemented superbly by melodic stylings from a largely new and reinvigorated line up.  No Sargeist entry at Eurovision this year folks!
    1. Winterfylleth "The Harrowing of Heirdom"
    So, controversially not an actual BM record but most definitely a release by a BM band.  I can't quite put into sufficient wording just how much I enjoy this record of acoustic storytelling.  I sing along to every line, I get teary at every lush piece of instrumentation and atmosphere and I smile content as a Bond villain at every warm tone that washes forth from my speakers/headphones.  An earthy, emotional and endearing experience that sits proudly atop of my list for 2018.
     
  14. MacabreEternal
    Behind every great man, there's a great woman.  Behind every camped up, shape throwing, garrulous Black Metal vocalist there's a great song writer.  Both of these statements are true, except the second one actually does not commend Abbath as being the imaginative, creative and artistic driving force behind Immortal.  This is blatantly obvious if you have heard his solo pop/rock record of a couple of years ago.
    What "Northern Chaos Gods" does is essentially pull off one of the best tattoo removal jobs in the history of "I Love Sharon" ink stains on most truck drivers (married to a woman called Rose) arm's being obliterated by lasers.  Despite a big character no longer being present on this record, I don't for one second miss Abbath.  Demonaz and co manage to put out an album that sounds so much like Immortal of old you could be forgiven for crying "Fake News!" at every mention of the turmoil and split between the founding members given the music is as strong as it has been in some while.
    Demonaz even sounds like a more in control albeit slightly more subdued Abbath.  But it isn't the vocals that will get you sweating like a blind lesbian in a fishmongers.  Nope, IT'S THE FUCKING RIFFS MAN!!!!!!  It is genuinely like getting twatted by an octopus for 42 and a bit minutes, listening to this record.  Utterly relentless in their delivery, Immortal just pummel away at you, occasionally throwing an atmosphere building intro before thundering off on hoofed steed to epic landscapes such as "Where Mountains Rise".
    There's no Judas Priest or Iron Maiden esque dip in output here in the absence of their established  frontman here.  Demonaz and Horgh have - to put it in layman's terms - just picked up and ran with the established format.  Don't get me wrong, it isn't anywhere near the quality of "At The Heart of Winter", alhtough it does piss all over "All Shall Fall".  Think of it as being the record "Damned In Black" could have been as a better precursor to the great "Sons of Northern Darkness".
    They have a song called "Blacker of Worlds"!!!  I mean what grown man with the mind of a pubescent boy doesn't think that is cool as fuck??? If the start of closing track "Mighty Ravendark" doesn't bring you out in goose pimples, you're dead inside.  Fist pumping, neck snapping metal right here folks.
    4/5
     

     
  15. MacabreEternal
    The first song I heard ahead of the full 2014 release ("The Satanist") from Behemoth was "Blow Your Trumpets Gabriel".  It immediately peaked my interest, setting the tone nicely for what was to become one of my favoured full lengths of that year.  This time around I heard "God = Dog" (which I think means the band are more cat people?).  It sounded blunted and frankly restrained.  Yes, there was a brief passage of some interesting string work towards the end but generally it just passed me by.  Sadly, just as my experience of the lead song/single from 2014 was an excellent benchmark for my expectation of the full length, the same has happened in 2018 but with a very different outcome.
    "I Loved You At Your Darkest" rarely achieves touching distance of the band's previous full length.  There's lots of things that stop it from doing this, indeed the list is as long as either one of my lanky and lengthy arms.  The songwriting is poor, it lacks any real structure the majority of the time.  As a result there is a constant sense of this just being a very hastily written, rush of ideas.  Tracks like "If Crucifixion Was Not Enough" and "Ecclesia Diabolica Catholica" show this in abundance, the former nailing the lid down on its own coffin with one of the laziest attempts at a menacing riff I have heard in a while.
    When we do actually settle into some sense of structure it actually works well.  "Bartzabel" is a sole triumph in the songwriting/structure stakes here and this is almost ruined by the annoying double layered, chanting backing vocals.

    Next on my list of grumbles?  The sound.  It is one of the most sterile and strained sounding mixes I think I have ever heard on a record.  The drums sound like they were tracked for a completely different purpose on some of the tracks, "Wolves ov Siberia" and "Rom 5:8" in particular.  I can't believe that this was the intended sound the band wanted to achieve.  I follow Behemoth on Instagram and they make much majesty and menace over their theatre and general pomp when performing live it seems.  Surely then they haven't listened to the final playback of this record?
    Now then.  I don't recall chanting children on a record ever working well?  But there's a couple of tracks here of children chanting their disdain for Christianity alongside Nergal and co.  It sounds frankly fucking ridiculous and trite even over only two tracks!
    In summary, this is a massive disappointment whether you enjoyed "The Satanist" or not.  Hastily put together, poorly arranged and mixed terribly to boot.
    1/5 
  16. MacabreEternal
    It was 2014 when Corpsessed released their debut full length and mighty fucking good it was too.  Some 4+ years later and it is time for the sophomore release to land in my music stream and seek my attention.  When I say seek I actually mean possess my attention.  Although the album is by no means perfect, this record grabs hold of you by your very soul, dragging it off on a journey littered with horror, darkness and crushing heaviness to boot.  One of its main successes is the atmosphere that is obvious from the opening of "Impetus of  the Dead" and plays an integral part over the remainder of the release.
    It is a very well structured album too, with strong song writing that layers tracks up to behemoth size and proportions.  Yet at the same time there's a real sense of balance too, for every cavernous and mammoth like structure there's shorter and more intense bursts that whilst moving the pace slightly away from the heaviness, don't distract too much from it.  "Paroxsymal" and "Sortilege" are great examples of this, two well placed tracks that add a variety to the pace and increase the memorability of the whole experience.

    The album only has two weak points for me.  The penultimate track on the record seems just a random and not altogether necessary inclusion, especially given the quality of "Forlorn Burial" before it and the vast ending of "Starless Event Horizon" after it.  Secondly, the production does seem to give off a muddled sound on some tracks although the horror of the atmosphere and those lead guitars certainly do rescue the day on more than one occasion.  In a year that has struggled overall to bring many standout DM records, "Impetus of Death" will be a welcome addition to any fan's Top 10 DM Albums of 2018 no doubt.  It is one of the stronger records of 2018 and also a fine step up from their debut offering also which makes me excited for album number 3.
     
    4/5
  17. MacabreEternal
    When I was 14 I witnessed the video on Raw Power TV to the title track from Judas Priest's "Painkiller" album.  I hadn't heard any Priest up until that stage despite me having a good selection of Iron Maiden and Saxon records under my belt by that age.  "Painkiller" blew me the fuck away!  I mean, what was not to love?  Thunderous drums, a mix of gruff and shrill vocal antics and duelling lead guitars.  I went straight out that afternoon and bought the album on blasted it for consecutive days for the next 3 months.  All in all, not a bad gateway album to the band.  The final point to make about "Painkiller" was that the record kicked the ass of most other releases in what was simply a stellar year for metal with "Rust in Peace", "Cowboys from Hell", "Danzig II: Lucifuge" and "Harmony Corruption" all dropping that same year, to mention but a few.
    The real draw of "Painkiller" was the memorability of the experience, the intensity aside (which in itself was a fucking energising venture) one run through the record left seared scorch marks across your brain.  For years after I could run through the entire album in my head note for note.  "Firepower" is exactly the same.  A mere 24 hours after it coming into my life and I can sing along with the lyrics, air guitar to near note perfection and bash my fingers bloody to the drums on my desktop.  It's full of anthemic choruses and simple yet effective hooks that just pull you in.
    Now, here's where the "Painkiller" comparisons stop.  "Firepower" is not another "Painkiller" in terms of pace or intensity by any means (whoever expected as much is dreaming).  It is however really strongly written and the arrangement is damn near perfect.  Let's not forget that Priest formed in 1969.  That's 49 years ago and they can still put out relevant and exciting metal almost without effort.
    Try and not headbang to any of the opening six tracks, if you can achieve it you are almost certainly dead inside.  Try not to make ridiculous gurning faces to any of the lead work on here and again if you succeed, check your pulse!  Sad though it maybe that Glenn has confirmed his Parkinson's is now progressed enough to stop him from touring there is no doubt that he can exchange blows, pound for pound with Faulkner and barely break a sweat.  Travis is as solid as ever behind the skins and although all my attention is on those fucking guitars he thumps along well enough to lynch the sound to a rhythmic core, as Hill rumbles along moulding his bass lines to the rest of the instrumentation nicely.  Halford still sounds strong to my ears, not his old self by any means but he carries off "Firepower" brilliantly.
    There's no point doing a track by track description here, if you have read the review to this point you'll get the idea.  Criticisms?  It is too long, by about 2 or maybe 3 tracks.  However, you can easily suffer the dips in the quality here and there as you are rarely away from some truly great music.  It does get a little samey at times too but that's forgivable to me as nobody is looking to reinvent any wheels here this may cause issue with the longevity of the record though for me.  Right now though I love it, I fucking love it.
    5/5
  18. MacabreEternal
    Surprises are nice aren't they?  I mean, not socks for Xmas type surprises.  Not even tax rebate on your birthday-esque proportions either.  I am more concerned with those times in your life where you tell yourself you will hate something before you even get round to trying it, convincing yourself in the process this unheard, untasted, unseen or unfelt thing would be a waste of your time.  When you eventually throw caution to the wind and give it go you find no repulsion, no bile in your throat just the recognition that you might just have been denying yourself some entertainment or genuine fun for a proportion of your life.
    This is has been my experience of "Ritual" by Soulfly.  You see I made my mind up that after "Arise" Max Cavalera was a spent force.  "Chaos AD" had its moments but largely left me a bit, "meh!"  When I tuned out of Sepultura activity entirely shortly afterwards I was aware that he had cropped up in various other guises over the years (Nailbomb, Cavalera Conspiracy) but understood Soulfly to be his nu-metal/world music project.  Twenty-something me had no time for his fucking around and since Sepultura offered nothing interesting the Cavalera contribution to my record collection was over as far as I was concerned.
    There's been 20+ years since Max and Sepultura went their separate ways and it's far to say that in those two decades, Soulfly have matured a bit.  Yes, there's still the fucking pointless moments ("Soulfly XI" - saxophone and acoustic nonsense that has no business being here) where styles get mixed up and world influences intervene unnecessarily.  Yep, there's still nu metal sounds too (the melodic parts of "Bite the Bullet" for example).  But there's also a fucking raging bull of anger, dissent and venom crashing through the political, social and religious delicacy of this particular chins shop in which we all live.  It kicks and charges relentlessly at times, and despite the risk of becoming speared by a horn or trampled by rampant hooves you just find yourself running alongside it riff by riff.

     
    There's no wheels reinvented though.  Anyone familiar with the band might be going "just another Soulfly album dickhead!" but the point is that I had real fun playing this.  I pulled silly faces, made lots of silent shouts and nodded along appreciatively with all the catchy and familiar riffs on display.  It opens with the tribal sounding title track but this soon descends into a chugging monster of a track, well paced and accessible without sacrificing any momentum.  As the album plays we get groove, thrash and a fury long since thought gone from the Cavalera repertoire to my ears.  There hasn't been a lot released this year to really get my juices flowing and my blood pumping and Soulfly scratch that itch perfectly here.  In any other year with consistent high quality releases, "Ritual" would have much less of an impact I suspect, but as with most releases I have lauded this year (Judas Priest, Saxon..) it is the old guard doing a shift again and putting a lot of newer bands to shame in the process.
    3/5
  19. MacabreEternal
    Essex, England is famous on Brit TV for reality TV shows portraying residents of the county as being sufficiently lacking in educational merit to be able to answer pressing questions like, "Which way is up?" without a significant pause for thought.  Whilst the British TV watching public clearly enjoy watching the blissful ignorance of the beautiful but frankly thick as pigshit youth of Essex, the same masses are no doubt equally blissfully unaware of the mighty monolith of metal that is The King Is Blind who hark from that very same part of the world.
    Steve Tovey (vocals) is an internet acquaintance of mine (as in we have never met in real life but we like each other's Facebook and Instagram posts regularly and exchanged post for a couple of years on another forum).  As such I have been aware of the band from their inception, enjoying thoroughly their first two demos and EP as they churned out releases consistently over 18 months.  By the time they dropped their debut full length "Our Father" in 2016 they had already become a well established outfit with their line up of former members of Extreme Noise Terror, Cradle of Filth and Entwined.
    I was all over "Our Father" like an STD on anyone of Motley Crue's genitalia during the eighties.  It was a proper journey too taking the listener from the familiarity of death metal initially before diving off into blackened passages and "core" edged crevices whilst being utterly monolithic throughout.
    For the follow up TKIB have managed to punch any doubts of a sophomore dip firmly out of the ring and onto the bar at the back of the arena seating.  Not only is "We Are the Parasite, We Are The Cancer" an obvious step up from its predecessor, it also one of the most consistent records I have heard in a long time.  Whereas "Our Father" took you in all directions and lost you on more than one occasion in its majesty the result was not as memorable as you might have initially thought and as a consequence you did get feel for it being more of a collection of songs as opposed to an album from end to end.
    "We Are the Parasite..." is a much more consistent and solidly written record with a real direction that remains obvious throughout.  It has been constructed from the ground up on foundations of riffs that could have your teeth down the back of your throat quicker than Mike Tyson on a night out in Newcastle.  The riff to "The Sky Is A Mirror (Plague : Luxuria" will knock you the fuck out quicker than Iron Mike ever could hope to with the power of it alone, never mind the relentless fury with which it is delivered.
    The scathing blackened picks of "Embers From A Dying Son (Plague : Gula)" will exfoliate you faster than any beautician wired on crack could with a seaweed mask and a bar of coal infused soap.  The build of "The Burden of Their Scars" becomes ever more oppressive as it crawls up your spine and grips your neck before Tovey's insane ramblings seep into your ear.  Even former Bolt Thrower (and current Memoriam) growler Karl Willets makes an appearance midway through the album.
    For a band in only the fourth year of existence to produce a piece of solid and thoroughly entertaining metal on just their second full length is testimony no doubt to the quality present within their ranks as "we Are The Parasite..." is clearly the sound of a band loving life together having gelled perfectly already so early into their career.

  20. MacabreEternal
    An hour and twenty three minutes is a significant period of time.  I could clean my whole house or prepare and cook a three course meal in that time.  Thankfully Bell Witch obviously have a cleaner and/or a chef as they decided to write one track during the time it would take most of us to commute to work.  Fans of Bell Witch will already know their sound to be unusual in the sense that there's no guitar and they produced one of 2015's best releases when they dropped "Four Phantoms" to the doom masses.
    Far from being an inhibitor, the lack of any guitar simply gives the Bell Witch duo opportunity to make the very best out of the bass and percussion, feeding them with atmospherics from varying sources and types to great effect.  I won't lie, this album is an acquired taste.  The layers going on here are oppressive both in terms of weight and the amount of patience (and time) required to simply sit down and truly appreciate them.  
    This is not your standard Funeral Doom/drone album.  In fact it is so much more than an album, something audible yet tangible at the same time to fingertips of anyone willing to lose nearly 90 mins of their day listening to an album consisting of just one track.  The bass guitar for Bell Witch acts as so much more than a stringed instrument.  Sure, the harrowing bottom end that dominates the majority of the track is an ocean of a million regrets churning its tide, smashing roll waves against roll waves, eroding cliff faces and laying ships to wreck.  But at the same time the bass sings to you, a song of sorrow and fathomless anguish like a Siren-esque accompaniment to the actual vocals themselves.  The delivery of the vocals is brilliant in keeping with the atmosphere of the record as they breathe in and out, formulating whispers, growls and clean, ritualistic verses whilst all the while the drums build their own crescendos of crashing cymbals and subtle rolls that fade and grow back like the embers of some undying fire.
    There's textures here too, not always obvious but certainly the variety on display takes the listener on a journey through every passage of crushing doom on and into post (post-doom's a thing right?) and ambient structures of peace and tranquilty yet still the hazy and murky dirge retains the atmosphere all through out.
    I am a sucker for any record that matches the artwork that adorns it's cover.  The artwork on "Mirror Reaper" is more than matched by the music behind it, I could stare at the artwork for the whole duration of the record and live out it's ethereal and menacing story to the full whilst doing so.  I am behind on my releases for 2017 but this is a firm contender for album of the year.

     
  21. MacabreEternal
    Shut up, just shut up any naysayers out there already reading this going "Urgh, that's not a metal album and you can't review a non-metal album on a metal forum because it isn't HEAVY FUCKING METAL DUDE!"  I have a Masters degree in pissing on other people's chips and so no amount of brandishing your "metul blud" at me will make me not do this.  You frankly have more chance of setting up a successful business in North Korea selling BBQ's and Rimmel products (DISCLAIMER -other expensive face paint is also available).
    Chelsea Wolfe does sound like the name of a lawyer who fights cases for poor people against big multi-national corporations and donates her fee to Greenpeace upon successful prosecution of organisations more complex and shady than any John Grisham novel could dream of.  Thankfully, Ms Wolfe does not have any career in law and has instead dedicated her life to the ethereal, industrial, alt-grunge/death/dark rock stream of odd music to play at parties to make everyone leave early.

    Madder than a box of frogs and more cooky than Cooky McCooky Cooky  from the village of Cookyville, Wolfe once again spreads her virulent strain of poignant, emotive and melancholic vocals  to a soundtrack with more clatter, rattle and intensity than a most soup kitchens see in a month.  There's real pain here and thankfully it is measured superbly as it shifts form with each track, ranging from floaty, pop infused melodies through to harsh, industrial drone and onto reverb drenched grungey rock to boot.
    When you have a voice more haunting than the average mother-in-law's face you could quite easily rest on it as your main "thang!" and let the rest of the instrumentation, structure and form go to shit.  Not Chelsea Wolfe!  She is to music what Steven Seagal is to Martial Arts - fat, orange and dangerous!  No, I mean dangerous, edgy and unpredictable and this spreads throughout "Hiss Spun" as some tracks are accessible within a couple of bars and others are real slow burners that build into dark and solid forms of undulating, uncompromising and at times disturbing structure.
    Check out, "Static Hum" for its use of the guitar to maul and taunt the vocals as the track builds and builds.  Better still the well paced structure and subtle shifts of percussion that represent "The Culling" or the meandering, fractured and disjointed guitar style present on "16 Psyche".  All are examples of the true talent of the lady herself and the musicians she surrounds herself with. 
    It isn't flawless though.  Although I like them, the industrial/noise/dark ambient interludes that occur seem misplaced almost and some tracks ("Particle Flurry") are frankly directionless.  I don't see "Hiss Spun" making many appearances on the turntable but it is most definitely a record that requires exploration as opposed to just a listen as background music, whenever it does get a play.  
  22. MacabreEternal
    Like some journey whilst blindfolded and hogtied in the trunk of a kidnapper's car, you never quite know where you'll end up with Blut Aus Nord.  The blend of near poetic melody contrasted with their harsh industrial leanings and complimentary darkest of ambience across their discography can leave the average metalhead spinning on their metallic shoulders.  Counter-intuitively you end up waiting for the next change, chop, turn or trick whenever you listen to anything new by BAN and this almost starts to detract from the experience as you wait like some cowering wreck for the sucker-punch to arrive.
    Merciless though they are in the delivery of "Deus Salutis Meæ" (God of my Salvation) the twists and turns - although far from predictable - are as one would expect having heard anything by the band since "The Work Which Transforms God".  Where "Deus..." differs slightly to me ears is the more obvious structure to proceedings, which obvious use of ambient tracks to pace the album over the full experience.
    What occurs between these passages of dark reflection is just as chaotic and scary as you would expect it to be.  There's little obvious "Memoria Vetusta" styling here but some of it is still present amidst the clashing percussion, churning bass and dense atmosphere of what sounds like a natural extension of the previously mentioned "The Work..." album.  It is impossible to deny the power behind BAN's music and typically "Deus..." is a bashing of an affair.  The thunderous opening of "Abisme" for example causes you to stop whatever you are doing and listen - like some industrial riffing dictator at some vast and menacing stage, addressing their crowd of loyal subjects.

    Never content with just pummelling the listener with percussion there's a fair amount of mesmerising repetition also, like some endless coiling snake or fathomless vortex encircling the listener, crushing the very soul from their shell.  "Revalatio" fades away but the same intensity of the track just churns on and on as though still playing now in some parallel universe, long after the reels have stopped turning here in this one!  The void that "Ex Tenebrae Lucis" drops you into has no friendly alien lifeforms present as it taunts you like some inter dimensional bully after your cyber lunch money.
    Criticisms?  It seems over and done with too quickly, which whilst never coming across as disjointed or fractured does leave you stumbling a bit as the record just ends really suddenly.  You end up feeling like a sprint runner, expecting the finish line but then suddenly seeing a wall just after it and having to slam on the heel brakes.  The longest track on here is five and a half minutes and it almost feels like the album needs a couple of seven minute numbers to vary the experience a little.  That having been said, "Deus..." is a still a triumph for a band who despite switching genres more often than some people change their duds still manage to produce challenging and though-provoking music. 
     
  23. MacabreEternal
    Whether you love or hate Cannibal Corpse, their penchant for churning out accessible, fun and consistent DM can't be denied.  Yes when they suck they really do suck (Gallery of Suicide), but even if technically never more complicated than most Kinder egg toys there's always a familiarity to CC albums that appeals.  I get those that hate that familiarity.  If you prefer to become lost in a Portalesque vortex when enjoying your extreme metal then the obvious churn of CC won't be for you.  However, for every complex and archaic DM record in my collection I like to have a fair amount of surety too (someone will be along in a minute to replace "surety" with "safety" no doubt) and "Red Before Black" is as familiar to me after a few listens as most of the band's previous outpyt.
    "Red Before Black" reinvents no wheels, either in terms of DM in general or the CC specific brand.  It is naive to say it has no variety as this simply isn't true, the pace of "Remaimed" for example goes from a slight itch to a raging STD style of a rash.  Opening track "Only One Will Die" comes for you like a deranged serial killer, devoid of any bizarre macabre master plan to use your body in some horrific piece of death art, just driven instead by the need to rip your head off and shit down your neck.
    "Firestorm Vengeance" starts like a thrash track, chopping away at the bars like a lumberjack on LSD defacing a tree.  The mastery of "Scavenger Consuming Death" is undeniable as it chugs away sitting imperiously glaring at you like some cocksure domestic pet who just shat in your sock drawer!  Sonically, the album seems a little more developed than usual without ever dissolving into the territory of "guitar wankery".  My only instrumentation grumble is the slightly soft edge to the drum sound which taps along instead pummelling in unison with the rest of the activity on display here.
    Whilst still being relevant (and it has achieved this without becoming "core" orientated either) and it staying in my head a lot better than the last two Suffocation records (for example)  it sets nothing alight.  As solid a DM record as this is my face isn't torn off at any point, my ears aren't battered and my neck doesn't get sore due to some over-exuberant headbanging session.  Most tracks do dip away unfortunately.
    Let's take nothing away from the effort though.  To not be producing shit metal at this stage in your career is an achievement in itself, I just start to question if motions are starting to just be gone through?
     
  24. MacabreEternal
    "Wizard Bloody Wizard" is like the lifting of a thick fog.  From the off there's a feel of a dense weight being lifted from the band's signature occult/stoner blend of doom.  By the time I get to track two "Necromania" things almost seem like a dark cock-rock affair which is odd.   The over-arching feel though is of a band who have gone off the boil somewhat.  Despite the aforementioned lifting of the heavy atmosphere "Wizard Bloody Wizard" seems more of ground out effort made under some duress resulting in the album being robbed in the main of any feel.
    The stoner riff that opens "Hear The Sirens Scream" gets the attention but by the time Jus' vocals kick in it is already starting to grate like when your washer stays on spin for fucking ages.  Instead of being a great hook for the track in becomes a centre-pin that loops unnecessarily throughout.  The vocals almost sound too laid back here also, like they are almost too much trouble to have to do.  When combined with the one dimensional structure of the song it all just starts to sound more than a bit forced.  As a result the track completely outstays its welcome even managing to make near 9 minutes feel like 15.  It's like your nagging aunt phoning for a "quick chat" only to spend an hour of your life hearing whose died recently and why.
    The creepy organ keys of "The Reaper" don't actually fit the riff structure at all.  The attempt at perhaps a drug infused chaos just sounds a clumsy and unnecessary 3 minutes of filler on a record that's only 6 tracks long anyway. "Wicked Caresses" offers the only hope for an actual bonafide EW track on the whole album, buzzing with hazy stoner riffs and solid plodding rhythm throughout but bubbling over with atmosphere to hold the interest better than anything before it.  The vocals actually sound like they are being delivered with thought and meaning as opposed to a disinterested teenager delivering a presentation at school on "Geographical Inertia" done with minimal research and planning to ever hope of not getting to stand in the corner with a big pointy "D" hat on.
    Unfortunately closing track "Mourning of Magicians" is delivered with about as much enthusiasm as the current Brexit deal and I just don't understand why?  "Time to Die" wasn't flawless but at least it was alive - it had meaning and purpose, direction even - whereas the cold dead eyes of "Wizard Bloody Wizard" offer no icy spark of creativity or artistic merit.  It is one of the most tired sounding things I have ever heard.  I spoke to my Gran this morning, she's 91 and can barely walk anymore and currently has a cold and she still sounded more exuberant than all six of these tracks put together.  My noodles at lunch had more kick to them, etc, etc... I could go on for hours about how much I dislike this.

  25. MacabreEternal
    The thing I like about Death Metal is that it is not something that (to my ears at least) always needs to be evolved/done differently/combined with the chants of Goatherders.  Don't get me wrong I like - what my old English teacher in High School would call - "a plethora" of DM styles/genres/sub genres/other neat pigeonholes and nicely labelled boxes, but motherfuckers a lot of the time I just want my DM rammed straight down my fucking throat by a large boot.
    In this instance I am talking Death-Doom.  That oppressive blend of two of metal's most imposing genres, brought together in a cavernous and atmospheric mixture so that bands like Spectral Voice can wash their Black Sabbath tees with their Incantation hoodies and not give two fucks if the colours run.  Now the internet (or more specifically my fellow MOD and font of metal knowledge, BAN) informs me that Spectral Voice are basically Blood Incantation under a different name.  I have never heard Blood Incantation so that kills this line of journalistic relevance in terms of comparing outputs, but based on Spectral Voice I am sure Blood Incantation are fucking good.
    The "erosion" on this album has been undertaken by some of the thickest, most cavernous riffs you will ever have the pleasure of hearing this side of dISEMBOWELMENT.  But the clever bit is that never once does that just become the sole deed of the record.  Ebbing and flowing with these riffs are dank layers of creepy and harrowing melodies that are arranged alongside slow picked strings and some bowel scraping, guttural vocals that strip plaster and stone from these heavily punished walls.  What Spectral Voice manage to achieve out of all these parts is an actual obvious structure, deftly built into some looming monolith within which exists a fathomless spiral into endless darkness.  Opening track "Thresholds Beyond" begins with a slow picked build and continues to use those strings to weave an atmospheric tapestry of hellish proportions to wrap the listener in.
    The melodic seepage that opens "Visions of Psychic Dismemberment" soon gives way to a rumbling chug yet maintains an almost arrogant poise throughout its near fourteen minute delivery as the band brilliantly pace and measure the track to hold the interest for the whole track for the listener.  Beneath the cavernous riffs and intense doom atmospherics of instrumental piece "Lurking Gloom" there's an undulating flow of near insipid melody whilst at times the same track almost possesses a punk invoking sense of rhythm.  
    It takes multiple listens to even start to unpick everything that is going on along each and everyone of the "corridors" travelled here.  Given the time the detailed textures of "Terminal Exhalation" and the sharp yet infectious needle picks of "Dissolution" all start to form an other-worldly core within the music itself that seems to take on form and life from these very dark and at times smothering nuances that you pick up on with repeated listens.  As 2017 draws to a close - and as with most preceding years - the list of great releases just continues to grow right up to the very death of the year itself.  "Eroded Corridors of Unbeing" is a neat discovery so late in the year (even though I am over a month behind with it) and goes to show the art of just sticking with a blueprint and building from there can still reap real rewards.

     
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