Jump to content

What is DEATH's heaviest song


Primate_N_Glycol

Recommended Posts

  • 3 weeks later...
  • 4 weeks later...
  • 2 months later...
  • 10 months later...
  • 2 months later...
  • 10 months later...

I never bothered because I had the Live in LA DVD and when I really tried to, I did not like the production on the albums as much as I liked Death's live sound, so I never bothered to look into anything from Death that wasn't live. They're one of those bands that if your first exposure to them is live, the studio albums sound tinny and weakly produced in comparison, at least that was my experience.

Like I can't listen to the album cut of The Philosopher or Spirit Crusher at all because I was spoiled by the Live in LA DVD.

Link to comment
Share on other sites

  • 1 year later...
  • 3 months later...
  • 4 weeks later...
On 10/16/2021 at 3:32 AM, NokturnalBoredom said:

I never bothered because I had the Live in LA DVD and when I really tried to, I did not like the production on the albums as much as I liked Death's live sound, so I never bothered to look into anything from Death that wasn't live. They're one of those bands that if your first exposure to them is live, the studio albums sound tinny and weakly produced in comparison, at least that was my experience.

Like I can't listen to the album cut of The Philosopher or Spirit Crusher at all because I was spoiled by the Live in LA DVD.

The production on their studio albums is different in every album. I can understand people who don't like the production on Scream Bloody Gore (although some might love it the most 🤷‍♂️), but you cannot say the production on Sound of Perseverance or Symbolic is bad. I'll be objectively wrong.

Link to comment
Share on other sites

46 minutes ago, RelentlessOblivion said:

Production does make a big difference for some people, the goat, for example, despises modern production, with every fibre of his being as far as I can tell. So I could understand some people being put off by the clear and precise production on Death’s later works.

Depends what you mean by 'modern.' Because when it comes to black and death metal (which is easily 90% or more of what I listen to) I've had lots of debates with people who say they don't like stuff from after the year 2000 as much as the older 90's stuff because of the modern production. My position is I like the newer stuff much better because the early 90's extreme metal production was quite often too thin and shitty sounding with a washed out barely discernible bottom end, at least with the more underground bands I care about, who I'd assume were working with very low budgets. I much prefer the beefy modern production. As long as it's not too clean and antiseptic sounding. There needs to be a balance. For me what I think sounds best is stuff that has the full sounding modern production with big drum sounds and plenty of low end, roaring guitars, but then they purposefully work their studio wizzardry to make it all sound raw and filthy to simulate the old stuff. Gives me the best of both words I think. I do mostly try to stay away from major label releases though because they're almost always too clean sounding for me. So if that's what you mean by 'modern' then yeah I don't go in for that.

As far as Death is concerned I really only ever listen to the first 3, SBG being my favorite of course. They got just a litte too proggy/techy for me after that. But even SBG and Leprosy spins aren't very often for me these days. I respect the hell outta Chuck, but I'm not one of those Death fanbois or anything.

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Join Metal Forum

    joinus-home.jpg

  • Our picks

    • Whichever tier of thrash metal you consigned Sacred Reich back in the 80's/90's they still had their moments.  "Ignorance" & "Surf Nicaragura" did a great job of establishing the band, whereas "The American Way" just got a little to comfortable and accessible (the title track grates nowadays) for my ears.  A couple more records better left forgotten about and then nothing for twenty three years.  2019 alone has now seen three releases from Phil Rind and co.  A live EP, a split EP with Iron Reagan and now a full length.

      Notable addition to the ranks for the current throng of releases is former Machine Head sticksman, Dave McClean.  Love or hate Machine Head, McClean is a more than capable drummer and his presence here is felt from the off with the opening and title track kicking things off with some real gusto.  'Divide & Conquer' and 'Salvation' muddle along nicely, never quite reaching any quality that would make my balls tingle but comfortable enough.  The looming build to 'Manifest Reality' delivers a real punch when the song starts proper.  Frenzied riffs and drums with shots of lead work to hold the interest.


      There's a problem already though (I know, I am such a fucking mood hoover).  I don't like Phil's vocals.  I never had if I am being honest.  The aggression to them seems a little forced even when they are at their best on tracks like 'Manifest Reality'.  When he tries to sing it just feels weak though ('Salvation') and tracks lose real punch.  Give him a riffy number such as 'Killing Machine' and he is fine with the Reich engine (probably a poor choice of phrase) up in sixth gear.  For every thrashy riff there's a fair share of rock edged, local bar act rhythm aplenty too.

      Let's not poo-poo proceedings though, because overall I actually enjoy "Awakening".  It is stacked full of catchy riffs that are sticky on the old ears.  Whilst not as raw as perhaps the - brilliant - artwork suggests with its black and white, tattoo flash sheet style design it is enjoyable enough.  Yes, 'Death Valley' & 'Something to Believe' have no place here, saved only by Arnett and Radziwill's lead work but 'Revolution' is a fucking 80's thrash heyday throwback to the extent that if you turn the TV on during it you might catch a new episode of Cheers!

      3/5
      • Reputation Points

      • 10 replies
    • I
      • Reputation Points

      • 2 replies
    • https://www.metalforum.com/blogs/entry/52-vltimas-something-wicked-marches-in/
      • Reputation Points

      • 3 replies

    • https://www.metalforum.com/blogs/entry/48-candlemass-the-door-to-doom/
      • Reputation Points

      • 2 replies
    • 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.  


      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. 

      4/5
      • Reputation Points

      • 4 replies
×
×
  • Create New...