Based on German mathematician Georg Cantor’s ‘Continuum Hypothesis’ and bridled with expectant technicality, US death metaller’s Continuum have hardly been reserved and uninspired on their début release, The Hypothesis (Unique Leader). Taking lyrical inspiration from such a complex subject matter (if you want a detailed rundown of this particular hypothesis, you’re going to have to google it this time) is a very bold statement for a band who are clearly looking to stand out.
Their variant of technical death metal is expectedly complicated and initially hard to follow and does show some signs of forward thinking but even still at times proves somewhat familiar. The shifts in tempo and between differing harsh vocal styles bear a striking resemblance to the likes of The Black Dahlia Murder through the album’s majority, whilst the occasional breaks with atmospheric interlude passages do nod towards the more prog leaning counterparts like Fallujah so there is some lack of its own identity.
For the most part it is all done very competently and far from overly complicated for the sake of actual song writing. Production is precise and short, sharper song durations make it all the more digestible until the elephant in the room, the final track, the nine-minutes long ‘Steppes To Ascension’ which brings any momentum they built to a crashing halt. With no deviation it continues on one solitary pace with a jarring guitar riff that repeats throughout, this seems laughable considering the seemingly effortless intricacy the rest of the album shows.
A very promising début that shows all the ability in the world but, in the case of the album’s conclusion, perhaps possessing a fault on the quality filter.
In recent times there seems to have been a near endless influx of overtly technical, progressive metal bands, all seemingly trying to prove more complex than the next and in too often the case at the expensive of actual, memorable songs. New outfit Alkaloid do have a few aces up their sleeves however; namely Christian Muenzner and Hannes Grossman, formerly of tech masters Obscura. Joining them is a cast of huge pedigree containing members of the likes of Aborted, Noneuclid and Dark Fortress.
Debut album The Malkuth Grimoire (Apostasy) certainly proves a bold statement of intent, proving insanely complex throughout as it constantly veers through death metal, more melodic passages and even a Between The Buried & Me sense of jazz progression at times, ever changing throughout. ‘Cthulhu’ proves one of the albums more straightforward offerings with a mostly traditional death/doom metal foundation with layers of futuristic keys and notes on top. As technically impressive as it all is, it does require your full attention and several listens to begin to fully grasp and take it all in, and with its huge duration that in itself can be a tricky undertaking.
It may not be a ground breaking album in and of itself, as many its components and influences are easy to trace, many of which coming from its own alumni. That being said, it is all pulled off with precision and culminates in a promising debut, with enough skill involved to become a true heavyweight in the progressive Metal genre. Far from the most catchy or accessible, and its running time comes close to the ridiculous, but regardless, a very strong and very cohesive effort from an all star cast with a huge pedigree.
…And so we continue with our countdown of the Official Ghost Cult Top 50 Metal releases of 2014 by bringing you Albums 20 to 16. As we get closer the top, the sheer unadulterated quality of the albums covered is astounding, and every one of our Top 20 should proudly sit in your collection already. And if they don’t, you should get investigating immediately…
20. VOICES – London (Candlelight)
A truly fucked-up concept album that mirrors the underground and back alleys of a fragmented urban dystopian hell-hole, a dark, horrible atmosphere is conveyed through blackened, deathly, atmospheric riffs and a harsh tale is unveiled and delivered in a deliberately contemporary discordant genius.
“The roots of the majority of this unit may have history together in Akercocke (David Gray, Sam Loynes and Peter Benjamin all previous members) but this is still a new band in some sense of infancy, yet with an already formidable reputation and artistic vision. London is a tremendous feat which not only surpasses expectations, but buries them deep underground, an album that sees Voices as not only one of the UK’s but the world’s most forward thinking and captivating extreme acts, and should be seen as a benchmark release. Huge in scope and style, but pulled off with astonishing effect.”
19. CANNIBAL CORPSE – A Skeletal Domain (Metal Blade)
Thirteen albums in, you’d be forgiven for thinking that Cannibal Corpse’s Death Metal powers should be on the wane. However, summoning the energy and vitality that bands half their age struggle to muster, an extremely high level of musicianship is utilized to produce powerful, slamming riffs without descending into showboat territory, and once again the Corpse show why they reign in gore.
“Bringing more violent, gory goodness that only Cannibal Corpse can create, what makes this album stick out and not sound like “just another Cannibal Corpse album” is the sheer evil and eerie direction that the instrumentals and lyrics take you. A Skeletal Domain from start to end is a roller coaster of terror, aggression, and more blood than a pit of zombies and has shown the world that Cannibal Corpse is still on top of their death metal game and just how evil these guys can be.”
Formerly known as Code Orange Kids, this sophomore effort is one hell of an aural growing up. The grit of Neurosis and the dervish of Converge mixing elements of drone, post-Metal and post-Hardcore, all captured in crushing sonic perfection by the ubiquitous force du jour Kurt Ballou.
“Overall, Code Orange have proven on this release that they are no longer kids, as I Am King shows the makings of a band not content to just sit in the realms of safety and complacency. But a band ready to expand their sound and not afraid of experimentation to broaden their horizons. At times heavy, trippy and crushing all at the same time, I Am King is what all follow up albums should strive to be”.
Sprinkling more accessible moments such as twin guitar breaks and the occasional cleaner bellow and working intelligent dynamics into their aggressive, technical (without being techy) melodic Death Metal, Boston’s beasts of the underground and unknown have made their mark with another critically acclaimed album that should place them well and truly in the ranks of more modern Death Metal bands who make a difference.
“This four-piece death metal outfit has been dismantling dictators through their onslaught of epic death metal for years now and they continue to get better and better. Revocation’s newest release, Deathless has certainly pushed Dave Davidson and the gang up another notch on the death metal ladder. Ten tracks coming in at around the 48 minute mark will still leave you itching for more, even if all of that shredding has melted your face. Just when I thought this band might have been getting close to their ceiling with the previous self-titled release, Deathless has come around and shot right through this proverbial ceiling and into my ears, and boy does it feel good.”
16. WINTERFYLLETH – The Divination of Antiquity (Candlelight)
The best bands have their own distinctive, defined sound, a series of identifiers that mark who they are while expanding and progressing their style. On their fourth album, Winterfylleth achieve that elusive mix of laying down a career defining opus that intrinsically delivers every aspect of the core Winterfylleth melodic, epic Black Metal sound, while pushing past the boundaries of everything they’ve produced to date.
“Winterfylleth, whose odes to Blighty’s ancient past have struck a chord with those searching for a bit more meaning in their homegrown talent, are a joy to behold. After three albums of high quality “English Heritage Black Metal”, Winterfylleth are sitting pretty and new album The Divination of Antiquity looks set to continue their ever-so glorious reign. In a scene renowned for gimmicks and plagiarism, their brand of sweeping, epic black metal just keeps revealing more with each release.”
Hang The Bastard are back: after announcing the slot at this year’s Download Festival, the band felt it was time to get out back on the road and play some shows. Possessing the tenancy to thrive in a world which is saturated with talented metal bands competing within the same sphere is not easy feast. Tonight’s show at The Barfly proves that Hang The Bastard are on the right path to deliver a stunning and meaty live performance.Continue reading →
Hang The Bastard are back: after announcing the slot at this year’s Download Festival, the band felt it was time to get out back on the road and play some shows. Possessing the tenancy to thrive in a world which is saturated with talented metal bands competing within the same sphere is not easy feast. Tonight’s show at The Barfly proves that Hang The Bastard are on the right path to deliver a stunning and meaty live performance.