It’s nice to have God Dethroned joining us once again. And by that I mean another reactivation of the band not unlike they had in 1996. Yeah, extreme metal is a tricky business to try to make a living in, but lineup changes and restarts aside, it seems like this Dutch metal institution is stable enough again to crank out a new LP in The World Ablaze (Metal Blade).Continue reading
One of Manchester’s brightest up-and-coming lights opened this autumn evening, the first night of a huge week of metal in the city. Impavidus were as tight as hell, the commonly-used MeloDeath soubriquet seeming very wide of the mark despite Michelle Adamson’s staggering use of harsh and clean vocals and some howling leadplay from Gav Smith.
Alongside the unfathomable, harsh beauty of their back catalogue, Finnish emotional terrorists Swallow The Sun have proved themselves no strangers to risk. Sixth album Songs From the North (Century Media) is, at triple-disc length, ambitious at the very least and open to myriad accusations of self-indulgence. In effect developing its own little game of ‘Snog Marry Avoid’, if any of you pick either of the first two to hitch up to for life then there’s no fucking hope for any of us.
I’s opening track ‘With You Came the Whole of the World’s Tears’ is an oft-delicate, Funereal / Death / Folk amalgam with Black-edged riffs that is faithful to the band’s intention to flood the emotions. The ensuing ’10 Silver Bullets’ shows signs of the inventive MeloDeath of Septicflesh but the production, honing the sound to within an inch of sterility, renders this, the melancholy Prog of ‘Rooms and Shadows’ and more symphonic ‘Heartstrings Shattering’ almost lifeless; an apt state for an opening salvo which is also badly affected by Mikko Kotamӓki’s lethargic-sounding clean vocals and is ultimately beyond disappointment.
The tolling piano opening II is a mournful portent which promises more, as does the lilting Folk of ‘Pray for the Winds to Come’ with its truly haunting strings. That disturbing tendency towards flab and fatigue is, however, all too evident: ‘Away’ completely empty of feeling and ideas, really not helped by those feeble clean intonations. The heavenly rhythm and instrumentation of the stunning ‘66°50’N, 28°40’E’ and closer ‘Before the Summer Dies’ atmospheric jangle are this albeit livelier disc’s indicators of the possibilities largely wasted, and serves only to infuriate further.
A largely different and far superior element, III is also by far the darker and more aggressive: opener ‘The Gathering of Black Moths’ coming out as a less heavy, slower and more atmospheric Primitive Man. Here subtle sections thankfully drop the twee harmony for edgy, funereal passages pregnant with tension. ‘7 Hours Late’s blend of tortuously slow, harrowing melody and horrific vocal is sickly oppressive, its leads and cannoning drums an ideal juxtaposition; whilst the unnerving soliloquies, unexpected missed beats and mixed roars and screams of the staggering ‘Empires of Loneliness’ are positively devastating, still underpinned by sampled atmospheres and eerie melody which by now seem addictive rather than plain dull.
Despite a largely unflinching template this chapter is by far the most compelling listen of a triptych which fails miserably to stand up to the name this band has built for itself. If Swallow The Sun is not to travel so far up its colon that it is impossible to return, the larger part of this bloated nonsense should be consigned to memory and never, ever be repeated.
5.5/10.0
PAUL QUINN
Full disclosure: I’m a huge lover of the Melodic Death Metal genre, and I regard Soilwork as one of the scene’s finest exponents. Despite an ever-changing line-up (Bjorn “Speed” Strid is the only original member left) over a career spanning 20 years, every album has carefully developed and built on the strengths of its predecessors whilst remaining utterly true to the essential elements that characterise Soilwork’s body of work. Consistency is the hallmark of this band.
Astonishingly, they have managed this without ever sounding stale or falling into the common trap of self-plagiarism, and their 10th studio album, The Ride Majestic (Nuclear Blast), continues the slow and subtle evolution of the Soilwork sound that has been defining the progression of this band since The Chainheart Machine (Listenable).
Produced by Jens Bogren, who also helmed their last LP The Living Infinite (Nuclear Blast), it sounds fuller, richer and shinier than all that have gone before. The excellent first track, ‘The Ride Majestic’, is a familiar opener, leading in with a gentle intro before delivering an excellent melodic soup of thrash growls, staccato riffs, sweeping scales, massive chords, expansive clean chorus lines and a noodly guitar solo.
Signature Soilwork songs leave the listener feeling like they’ve just run a Tough Mudder in record time: ‘Alight in the Aftermath’ is absolutely one of those songs – classic. But wait what’s this? The passage at the end is a monstrous shout-fest reminiscent of the sorely-missed Strapping Young Lad. I can’t wait to hear this played live.
‘Death in General’ gives us an almost Clapton-like intro lick that serves as the main hook. Another song of the classic Soilwork cannon, it would not sound out of place on Natural Born Chaos (Nuclear Blast) while ‘Enemies in Fidelity’, features the apt lyric “You can count on my distinctive presence” – Speed ain’t lyin’ brother – sounds like a bonus track from Stabbing the Drama (Nuclear Blast).
The bemusingly-titled ‘Petrichor by Sulphur’ starts to distinguish the sound of the new album in earnest, showcasing new influences that are pushing the band into fresh sonic territory. There’s new guitar tones, new chord progressions and uncharacteristic vocal hooks. In particular, the mixing of the keyboards is different here – it’s been tucked behind the guitars in such a way as to add drive and depth to an already rich sound. Delicious.
I’d swear that Devin Townsend contributes guest vocals to ‘The Phantom’ in the Lad-As-Fuck chorus, but apparently it’s a fella called Pascal Poulsen, apparently from one of the bands called Odium (I’ve found 3 so far – the Canadian guys are awesome).
Along with the racing tunes, Soilwork have another trademark of having one or two joyful bridges or middle eights that just make you glad to be alive. ‘The Ride Majestic (Aspire Angelic)’ is that song. It also features another endearing Soilwork trope – there’s at least one song on each album with a clumsy timing change. It’s subtle, but definitely there.
Soilwork, photo by Hannah Verbeuren
‘Whirl of Pain’ is a clean nearly-ballad that lets us know we’re on the home straight. ‘All Along Echoing Paths’ (a swinging stomper) and ‘Shining Lights’ (another race with more delightfully fresh elements) lead us to the closing track of what has been a breathless and triumphant addition to the Soilwork legacy.
Featuring Nathan James Biggs of Sonic Syndicate on guest vocals, ‘Father and Son Watching the World Go Down’ sees us out with a sublime cacophony of proggy goodness which borrows heavily from the likes of Rush and Dream Theater.
In a career of great albums, the aptly named The Ride Majestic is truly outstanding.
9.0/10
PHILIP PAGE
When new bands form they usually aim to get their music ‘out there’ as soon as possible, often releasing their début full-length album in the first couple of years. However, Archaea do not adhere to this stereotype as they are finally releasing their début album nearly eight years after forming. Although this may seem like a strange move, it does prove that a lot of thought, effort and time has gone into the creation of Catalyst (Self-release).
One of the most impressive songs on the album is ‘Vacuum’, a dramatic and almost enchanting melodic metal song. The frantic nature of the song is highlighted by the fast-paced keyboard melodies, which manage to fuse well with Nils Bossius’ powerful vocals. There is definitely a theatrical element to this song, however, it does not sound tacky or over-rehearsed.
There are many stereotypes about Swedish melodic death metal all sounding the same, but that definitely is not true. Although Archaea are able to nail all of the genre tick-lists (heavy vocals, melodic keyboard, ect), there is something a bit different about the Gothenburg-based sextet. Every song on the album sounds unique and it is hard to get bored whilst listening to it. Although there may be a slight overload of keyboard melodies, which is slightly reminiscent of Children Of Bodom, it does not change the professionalism of Archaea’s sound.
If you gave this album to someone who was scared of the melodic metal genre it would definitely encourage them to listen to more ‘melodeath’ music. Catalyst is extremely easy to listen to as Archaea have made an album which focuses on creating high-quality music with hints of other genres embedded into their sound. Although it may not be the most ground-breaking record of the genre, Archaea have worked hard to create a release is sure to gain them respect in the metal community and a wide variety of new fans.
7.0/10
JULIA CONOPO
American thrash metallers Battlecross are back with their fourth album, Rise to Power (Metal Blade). The band, fronted by Kyle “Gumby” Gunther [vocals], have always shown little regard for dwelling on the same for more than a moment or two, but push it even further for their latest effort.
Anyone who has heard 2011’s Rise to Honor or 2013’s War of Will [both Metal Blade] knows that these guys are a seriously talented bunch of musicians, but Rise to Power feels like a step back, one that’s lacking what little focus that was there to make earlier albums enjoyable. Instead we’re given 10 tracks of largely repetitive, identical thrashcore by numbers. It’s competent stuff, but a largely tuneless mess of riffs and screams that smacks of throwing a lot of noise at a wall and seeing what sticks. It’s not a huge step away from their previous albums, but it’s just not that enjoyable.
It’s hard to pin down exactly what Battlecross sound like. Opening track ‘Scars’ boasts some enjoyable 80s speed metal leads somewhere in the final third, before ‘Not Your Slave’ strays into Lamb of God-lite groove with a bit of melodeth segwayed into the middle. ‘Spoiled’ could almost pass for early Megadeth before jumping off into classic In Flames territory. While they cover a lot of ground and amalgamate plenty of styles into their music, they never really settle on a definitive “Battlecross© sound”.
When they are good, however, Battlecross create some really enjoyable music. Unfortunately they throw in so much derivative chaff that it’s hard to pick out standout tracks; each one usually features a good riff or two and the solos are of the highest quality – ‘Spoiled’ is the best example of the quality leads this band are capable of – but it’s all quickly lost in the maelstrom.
With each track hovering around the three-minute mark, Rise to Power is mercifully short at only 35 minutes. If you like bands that make a lot of the right noises and take a machine gun scatter approach to riffs, Battlecross are probably for you.
6.0/10
DAN SWINHOE
It is rather satisfying to discover that Greek extreme metal folk Karma Violens belong to ‘Growl Records’, as not only is it an apt pun but it encapsulates the aggressive ruminations that the band so artfully proffer to their ravenous audience. Their latest release Skin of Existence develops satisfyingly from their EP Katara, which merely hinted at the potential of the band to become something prodigious.
Skin of Existence has obviously leanings towards the bands prestigious peers, Arch Enemy being the most prominent. However, unlike the aforementioned, Karma Violens sound has most definitely been upgraded with the venturing forth with the sole intention of ruining everyone’s stereo equipment…and ears for that matter! Oddly, but not unwelcome, the album has catchier edge to it with songs like ‘Bloodbath’ and ‘Soulless Child’ ensuring vigorous toe-tapping as well some rather ferocious head banging. Very few bands can achieve this balance, and it is key to the success of this album. The nature and sonic delivery of songs like ‘About My Creator’ (a perfect song to soothe road rage) mean that this album was clearly meant to be heard in a live setting. Imagine if you will, a small, dingy basement venue. One where the beer tastes like it’s been through a digestive system already and there is very little room for maneuver or escape. Perfect for the onslaught of brutality, a chance to let one’s demons out in a safe and (somewhat) controlled environment.
The only criticism of the album, and one which even the most prolific bands of the genre can’t escape, is the repetitive nature of the songs. Karma Violens may not be the worst offenders by any stretch of the imagination, but there is a sense of “if you’ve heard one song, you’ve heard them all”. Let us hope they do not descend into the pedestrian trappings many of their peers have suffered. Still, the overall sound and feel of the album distracts from this, leaving you the perfect album to lose your shit to. Whether in a venue with fellow metalheads or in a car at red lights earning you worriedly curious looks from passersby.
7.0/10
SARAH WORSLEY
Hailing from Ohio, US death/thrash outfit Unkured self-released their sophomore album, Mutated Earth, late last year. Sliptrick Records has signed the band and re-released the album to give it a better chance of reaching a wider audience.
Currently a two-piece consisting of Cody Knarr (Vocals & Guitars) and Ben Stanton (Bass) after the recent departure of Adam Green (Drums) the band are progressively-leaning Thrash/death crossover outfit with some big ambitions. Knarr’s vocals are very reminiscent of Chuck Schuldiner’s tortured screams, both in sound and phrasing, while the music behind it is equally adventurous as Schuldiner’s later albums with Death.
An ever-changing maelstrom of riffs, no two minutes on Mutated Earth are the same, let along two tracks. From the opening assault of the title-track, Mutated Earth is a swirling barrage of staccato shredding, blast beats and snarling vocals. It’s relentless but the sheer volume of riffs on offer keeps this sounding fresh.
Aside from the heavy Death influences and a general aura of 90s death metal, there are moments recalling classic Slayer and the occasional nod the more melodic elements of Gothenburg-based melo-death, especially in the solos. The likes of ‘Anti-Terraforming’, ‘…Into Crumbling Ruin’ and ‘They Live, We Sleep’ are vicious but intricate, combining the seriously brutal with some impressively technical musicianship – especially on the solos and in the outgoing Green’s drumwork.
There’s nothing resembling hooks or choruses; this is complex and demands your attention to be fully appreciated. Mutated Earth is heavy, ambitious and adventurous. Not afraid to show off its influences, it balances paying tribute without being derivative better than most. Well worth a listen if you want to hear the music of Death brought back to life for 45 minutes.
8/10
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DAN SWINHOE
Originating in Thessaloniki, Greece, under the fleet-fingered generalship of Marios Iliopoulos (the bands only stalwart and ever-present) and six-string superstar guitarist Gus G. (Firewind/Ozzy), Nightrage have had a fair few well-known faces bolster their ranks and raise their profile throughout the years, including, amongst others, Per Möller Jensen (The Haunted) and Tomas “At The Gates” Lindberg. Yet, despite the constant turn over, through the sheer force of Iliopoulis’ will and personality, the band has maintainted both its sound and style.
And so to opus number six, The Puritan (Despotz), and yet another line-up change with Ronnie Nyman grabbing the poisoned chalice-shaped nettle of the microphone stand, his early Anders Fridén stylings slotting in seamlessly with an assured and aggressive voice snarling over another dose of the confident melodeath we’ve come to expect from Nightrage. Steeped in the fast riffing, melodic leads and off-beat snare snaps that define post Slaughter of the Soul (Earache) Melodic Death Metal, The Puritan displays all the expected genre trappings, with Nightrage comfortable in laying out a heavily In Flames and At The Gates influenced sound.
Yet, this was the sound of the late 90’s… in the lead up to the turn of the millennium, you couldn’t swing a cat without it picking up the print ink of review upon review comparing bands to the main protagonists of the NWOSDM sound and nearly two decades on it’s disappointing to hear respected outfits slavishly reproducing a style that belongs to yesterday. There were too many bands doing it back then to need any more doing it now.
Iliopoulos knows how to do this melodeath thang til his fingers bleed, and The Puritan is an effectively crafted slab of Gothenburg jagged riffing, harmonized guitars and throaty vocals. For a band that has rubbed more than shoulders with some big hitters and genre-definers, while the proficiency is there, that extra dose of depth of thought and invention in song-writing that would move Nightrage from just A.N.Other band to genuine players, is lacking.
Even seventeen years ago this would have sat as one of the pack alongside your Withering Surface’s, A Canorous Quintet’s and Crown of Thorns as follower, not leader.
6.5/10
STEVE TOVEY
Few bands have the kind of legacy At The Gates managed to create in their relatively brief run in the 90s. That one album has had such an impact on modern metal is nothing short of amazing. But legacies can be double-edged. There’ll be many who say new album At War With Reality (Century Media) is the album of the year solely because it’s At The Gates, and they’ll be just as many saying it’s failure because it’s not an exact replica of their seminal 1995 record Slaughter of the Soul (Earache).
For the few who have actually waited to listen before they pass judgement, At War With Reality is a genuinely worthwhile listen and worth the 19 year wait. It still sounds like At The Gates, not the razor-focused Slayer-worship of Slaughter of the Soul, although those moments are still present, but an all-encompassing At The Gates that draws from the band’s entire back catalogue.
The riffs are still there; the guitar work of Anders Björler & Martin Larsson is as fast, furious and intricate as ever. The title track, ‘Death and the Labyrinth,’ and ‘The Conspiracy of the Blind’ all recall the band’s thrash-fuelled energy of Slaughter. Tomas Lindberg’s vocals are still savage, but they’ve aged into a deeper, more pained howl. But as well as the speed and the aggression, the album has its fair share of slower moments and dark atmospherics that recall earlier albums such as Terminal Spirit Disease or 1993’s With Fear I Kiss the Burning Darkness (both Peaceville).
The crisp production just adds extra weight to those crunching yet addictive guitar lines. The slow burning ‘Order from Chaos’ and ‘Heroes and Tombs,’ both brood over irresistibly catchy guitar lines, while the epic ‘Book of Sand (The Abomination)’ mixes relentless aggression with squealing melodic solos and breakdowns. While fans of ATG or melo-death will feel at home straight away, there are few dull or predictable moments.
The return of Carcass last year showed reunion albums didn’t have to hackneyed rehashes, and history has repeated itself in the best way possible. At The Gates have shown the world that they’re still the most powerful force in melodic death metal. At War With Reality does more than just prop up the band’s legacy, it enhances it.
9.0/10
DAN SWINHOE