REVIEWS
- # 19 – November 2003
Akeldama
„Betrayed,
Beaten, Slaughtered”
Demo
2002
There
are few bands called Akeldama, and this one comes
from California. The tracks presented on the demo were recorded in 2001 and 2002, that’s
why one can wonder how much the band has changed since their recording. I think
that the style from demo is interesting enough not to change it. With some
small improvements, Akeldama could record a good
debut album. Musically, Akeldama fits to basic
definitions of US
death metal. It plays fast and brutally. Sometimes it reminds of Cannibal
Corpse; sometimes it is closer to Deeds of Flesh. I hear also massive riffs
comparable to Brutality. Compositions are rather straightforward and short, but
each of them has some good riffs that can call listener’s attention. Much worse
than band’s songwriting is the production of this material, but if we agree
that demo is to help the band to get a chance to record their music in better
studio, Akeldama’s demo should play such role. http://www.akeldama.com/
All
Shall Perish
“Hate…Malice…Revenge”
Amputated
Vein Records 2003
Although
All Shall Perish isn’t as sick and brutal project as other US artists working with Amputated Vein Records, I’m sure that California’s outfit will have many fans among metal heads who will listen to
“Hate…Malice…Revenge”. It’s simply good and interesting album. The band
formerly known as End of All blends heavy, brutal style akin to late Internal
Bleeding, having some hard-core influences, and more melodic fast playing that
is typical for Impaled and to some extent Vehemence. The combination of these
styles isn’t unique but fresh enough to consider All Shall Perish the band that
adds something to death metal heritage. From time to time I hear on this album
riffs that are dangerously melodic, more melodic than the ones Impaled uses to
play. Therefore I am a bit worried in what direction Californians want to head
on the next album. On the other hand, brutality simply dominates on
“Hate…Malice…Revenge” so maybe my fear is baseless. http://www.allshallperish.com/
Anoxia
“Intense
Killings”
Self-released
2003
The
new CD recorded by Rhode Island’s
band will totally satisfy fans of Cryptopsy, Death of
Millions, Gorgasm, Lecherous Nocturne so people who
like very fast, brutal, and grinding metal. It’s really insane music. The
tracks are short but full of tempo changes and different good ideas, first of
all in riffing, that make the album a very interesting proposal from the
beginning to the end. Riffs are very aggressive and memorable; they are
original as well. Although brutality is the key word that describes Anoxia’s
style, I would like to put an emphasis on the fact that “Intense Killings” is
also technical and complex album. Band’s members are good instrumentalists and
one can hear this. That’s why their complicated compositions are never chaotic.
They are played with conviction. Hearing such professional material, it’s hard
to believe that Anoxia is unsigned band.
Art
of Destruction
“2003
Under Attack Demo”
Sinternational
Virginia’s band was formed many years ago, for in 1992. It waited 6 years for
release of the debut album, “Retaliate”. And now the time has come to release
the new material. Unfortunately, it is only a demo, but maybe these four good
songs will be only an introduction and the band will soon prepare the second
album. One can call Art of Destruction’s style death metal; you can also use
such mutations as death-core or death-thrash. On the other hand, it’s really
not important how you will classify it. It’s better to say that band’s new demo
is intense and heavy: not so brutal to discourage fans of metal-core or thrash,
and heavy and intense enough to please fans of death metal. Art of Destruction
plays mid-paced songs. Faster parts are a rare addition, most audible in the
opening track, which is most dynamic. Good, ‘deep’ bass lines and deep vocals
are the decisive elements that justify my opinion that it is heavy stuff. The
riffing is pretty catchy. Track structures don’t repeat the same scheme what
shows that Art of Destruction tries to diversify the songwriting. Continuing
such good work, they should very easily compose material for interesting next full-length.
www.sinternational.net
Concrete
Coffin
“Demo
2003”
Concrete
Coffin plays thrash metal, based on classical California’s patterns. For Concrete Coffin is California’s band, these domestic influences are easy to explain. Three songs
promo introduces a good, talented band. The opening song is fast and close to
Evil Dead’s tradition. For I consider Evil Dead to be
one of the best California’s bands ever, this comparison is a compliment. In the second track,
Concrete Coffin slows down significantly, but again I like the riffing. Good,
melodic solo in the middle diversifies this composition. The third song repeats
rather scheme of previous song although it’s a bit more dynamic. Think of
Exodus this time if you need comparisons. The entire material verifies two most
important features that should characterize a good thrash metal band:
songwriting and technical skills. As composers and instrumentalists, Concrete
Coffin’s members look very good. The band has more songs ready to record. I am
eager to hear them. http://www.concretecoffin.com/
Criminally
Insane
“Nameless
Fear”
Self-released
2003
When
I heard first riffs of the opening track, “Zombie Infestation” I already knew
that Criminally Insane’s new MCD
would crush. I know and I like very much debut album of Pennsylvania’s band. I expected that the new material would be better but the
strength of “Nameless Fear” is beyond my earlier imaginations. More
straightforward and heavier than on “Darkness of the Mind”, Criminally Insane
becomes one of the best US
thrash/death metal bands. First three tracks from MCD
are comparable to Bloodfeast, Rigor Mortis and Sepultura so most powerful speed/thrash metal heroes of the
80’s. Criminally Insane’s riffing is catchy and
memorable, and it is aggressive. “5317”, the third song from “Nameless Fear”,
can compete even with many early Slayer’s tracks. It is one of the best
thrash/death metal compositions I heard in last two, three years. Not very
varied or complicated, “5317” is incredibly violent. Almost equally powerful
are tracks number 1 and 3 (“Blood Moon”). The fourth and final track,
“Vespers”, is the only slow composition: slow and very heavy. Once again, I
will use comparison taken from Slayer’s history. “Vespers” is like some good
slow tracks from “South of Heaven”. This is the proof that Criminally Insane’s riffing is outstanding no matter how fast they play.
Another element worth praising is drumming. Vocals on “Nameless Fear” would fit
to each death metal definition. Except for short parts in “Vespers”, they are
powerful and dirty, better than on “Darkness of the Mind” (where they were
simply good). This album is highly recommended. http://www.criminallyinsane.net
Cystic
Dysentery
“Culture
of Death”
Demo
CD 2003
Northern
Florida Death Metal scene becomes stronger and stronger. With Impurity, Hatred
Unleashed, Paths of Possession, Altar of Flesh, Dead Centre and heroes of this
review, Cystic Dysentery, it is one of the most promising local scenes in
States. The bands from that region don't have one formula how to play death
metal and this helps them to sound originally. They are not blind followers of
old Florida's traditions as well. Of course, if they tried to continue old Morbid
Angel, Deicide or Death’s styles, it wouldn't be a problem as Tampa's
death metal from early 90's still rules and I don't have anything against its
followers. However, all mentioned bands from Northern Florida want to create
own styles and this is a good choice. Cystic Dysentery plays brutal death metal.
On debut demo, you will hear parts comparable to old Monstrosity
("Imperial Doom"): similarity is audible first of all in fast and
straightforward parts, but definitely Cystic Dysentery is more brutal and
heavier than Lee Harrison's crew. It is less technical as well, but being good
instrumentalists Cystic Dysentery's members have simply other aims than to
write as technical music as possible. Their own definition of the core of their
music is simple: fucked up riffs and beats with sporadic changes everywhere
(read our interview with the band to know more about their history and plans).
I agree with that. Earlier comparison to Monstrosity could be misleading. I
should rather say that Cystic Dysentery’s style has something in common with
classical Florida's death metal but also with NY's style akin to Suffocation from
"Pierced from Within". Add many original ideas, and you will know
what Cystic Dysentery represents. Recorded by Juan "Punchy" Gonzales
at Diet of Worms Studios (Diabolic, Impurity), demo has very good, heavy and
intense sound. Not too many bands had a chance to record such professional
debut material. http://www.cysticdysentery.com/
Dark
Disciple
“Unholy
Hate Gore”
2003
Dark
Disciple’s demo materials had very good reviews, strengthening its position as
one of the best Maryland’s death metal bands. Debut full-length of
this band is much better therefore Dark Disciple’s role in the underground
should become even more significant. The style has changed. “Beneath the
Inverted Cross” demo was straightforward material (very good one, indeed). On
debut album, one can hear much better structured and more complicated
compositions. Riffs and tempos are more varied and the entire material is
catchier. Saying that it is catchy I don’t suggest that Maryland’s band has followed the trend
to play melodic death metal. Not at all, as “Unholy Hate Gore” is furious and
blasphemous album, with powerful, brutal vocals (no effects, only pure hate!).
It is catchy as tracks are memorable, full of very good riffs that make Dark
Disciple’s music easy to remember although it has to compete with hundreds
death metal albums released in 2003. Dark Disciple plays traditional death
metal that has many elements similar to Deicide. Also Texan bands as Demonseed or Condemned are good comparisons. Although these
bands come to my mind when I am listening to “Unholy Hate Gore”, Dark Disciple
has composed original songs. This is one of the reasons why they are memorable.
If you want to hear devastating and well composed death metal, Dark Disciple
should be one of your first choices this year. www.darkdisciple.com
Detrimentum
“A
Monument to Suffering”
Demo
CD 1999
When
you say "English death metal", you probably mean Carcass, Bolt
Thrower or Napalm Death. It is interesting that these bands overshadowed the
rest of the scene so much. I think that it would be difficult to find a similar
example of situation when only so little bands exerted so profound influence
upon scene in own country, except for Poland, with dominating Vader's role. To avoid any confusion I have to
underline that I like Carcass, Bolt Thrower and Napalm Death. I don't suggest
as well that other English bands are weak. Listening to Desecration, Cancer or
Infestation I couldn't say that. However, it is significant that since Carcass,
Bolt Thrower and Napalm Death, any of English death metal bands has not become
one of the leading bands of international scene. We could have discussed My
Dying Bride's but since My Dying Bride has not been playing death metal for
many years, this band is a closed chapter of the history of brutal music. After
digression, it is time to speak about Detrimentum. It
is one of these English bands that don't want to follow the traditions of
golden trio. Its music is closer to US brutal death metal and still has enough
originality to support thesis that there are good bands in England that simply are not popular, as they deserve. Detrimentum’s
death metal won’t surprise you, but solid songwriting and professional
execution are features that make it a good proposal. Riffing and drumming are
constantly fast and brutal what for me it’s a good move. Maybe a bit more
diversity in songwriting would distinguish Detrimentum
more significantly, but complaining would be harmful. For “A Monument to
Suffering” was recorded four years ago, we can already demand the new material.
If these four years haven’t been wasted, and most likely Detrimentum
has been working hard to improve its music, the new CD should be a big step
forward. http://www.detrimentum.co.uk/
Dimentianon
“Promo
2002”
This
black/death metal band from NY has already released a debut album, “Seven
Suicides”, that’s why this review is a bit outdated. That’s my fault as I was
preparing mentally very long to write it. Frankly, I am not impressed listening
to such materials. Dimentianon, previously known as
The Forgotten, is not a bad band. These tracks from demo have potential, but
they need better production. I hope that on debut album sound is much heavier.
As Dimentianon plays music with many slow parts,
heavy sound is a must. Riffing is solid but there is nothing here what hasn’t
been played before. It can be a serious accusation or it can be forgiven. It
depends. If you like slow blend of death and black metal, with some blasts from
time to time, and if you accept very underground production, you will
appreciate band’s efforts. Fans of brutal death metal will not dig it; at least
I suppose that for them this demo will be not aggressive enough. But the true
band’s effigy is debut full-length CD that’s why look for it. Maybe it’s
better, first of all taking into consideration the production. http://sevensuicides.cjb.net/
Fuck
U All
“Self-titled”
Self-released,
2003
F.U.A. album starts with slow and
mid-paced riffs. From the first seconds, this is death metal, but the opening
song has something in common also with metal-core. However, it doesn’t last
long. Fast drumming introduces you the real F.U.A.’s
effigy. It is grinding death metal that is intense and fast although from time
to time Maryland’s band plays also slower riffs. Being most of all a death metal band, F.U.A.’s members are not stylistic purists, who would be
afraid of using other influences, that’s why grindcore
elements are well audible. I like aggression of this material. Also frequent
and good tempo changes make F.U.A. an interesting
proposal. What is equally important, F.U.A. doesn’t
copy any other bands. When you play grind/death metal, there is a real
temptation to use ideas known from Napalm Death, Terrorizer
or Brutal Truth albums. Not being totally original band, F.U.A.
has managed to compose fresh material. As Maryland’s band plays quite varied music, it is interesting in what direction
they will decide to turn. I would like them to play first of all fast songs. It
is my favorite side of their music. However, I wouldn’t be disappointed if they
continued the current blend of fast and mid-paced parts as it is good. http://www.fuck-u-all.cjb.net/
A
Gruesome Find
“The
Fire that Burns in Hell”
Vile
Art Records, 2003
Band's
members call their music “Bleath Metal”. It suggests
parody or at least that they don't think too seriously
about all definitions of styles and ideologies connected with music. However, A
Gruesome Find's material is serious. Well composed and well executed cannot be
treated as a joke. I have read a couple of reviews on “The Fire that Burns in
Hell”. Some reviewers compare A Gruesome Find to European bands as Emperor and
Mayhem. I am not sure if this is good comparison. For me, Ohio's
band is closer to US
tradition of black/death metal, first of all to late Absu,
especially when it plays fast. I don't suggest that it is Absu's
clone but if I had to choose better comparison, Absu
would defeat Emperor (as in real musical life although commercially more
successful is Empreror). A Gruesome Find's
compositions are long and varied. When fast parts dominate, I like them. When
band slows down, my opinion isn't so positive, especially when A Gruesome Find
starts playing more European-oriented melodic riffs. Fortunately, these parts
of the album do not last too long and only in one track they are the core of
its structure. The entire material will please fans of black/death metal for
whom aggression and atmosphere is more important than brutality and technical
displays. http://www.agruesomefind.com/
Human
Ritual
“Offering”
Self-released
MCD, 2002
In
almost every review on Human Ritual’s MCD,
“Offering”, reviewers emphasize that although Kansas band has double vocals, brutal and clean, it isn’t nu-metal
band. We could spend many hours discussing what nu-metal
really is, what its best definition is. Such theoretical dispute doesn’t make
any sense if we want to say something about Human Ritual. Definitely, double
vocals, a blend of growling and melodic, clean singing, are not a good reason
to call a band a nu-metal outfit. As I don’t like nu-metal and as I like Human Ritual’s material, I would be
one of the last persons, who could use this shameful label to describe band
from Kansas. At once, I have to say honestly that I would like Human Ritual more if
they didn’t have clean vocals. “Offering” is above all heavy material (two
bassists!) that’s why everything what is not heavy, and clean vocals are not
heavy, softens this music unnecessarily. It is not a big problem, however.
Human Ritual plays mid-paced metal that contains influences from metal-core to
death4 metal, including thrash and progressive metal. It’s varied stuff. Bands
that come to mind when I listen to “Offering” are Machine Head (early, heavier
materials), Sepultura (from “Chaos A.D.” or “Roots”),
Pantera, even Sacred Reich (late). Human Ritual has
many very good ideas, as for instance fast riffing and drumming in “Less Than
Human” or slow and heavy opening of “Behind the Faces”. Band’s members are good
instrumentalists so expect the true musical professionalism. Death metal
maniacs will have some objections hearing clean vocals, but fans of modern
metal (please, don’t think nu-metal now), represented
by mentioned well-known bands, will like “Offering”. http://www.humanritual.com/
Kalopsia
“Exquisite
Beauty of the Defiled”
Self-released,
2003
NJ’s
scene of early 90’s is not terra
incognita to those who are interested in history of death metal music. The names
of the great NJ’s bands, with Ripping Corpse, Revenant, Human Remains and
Psychosis (later known as Mass Psychosis) at the head, will always remind us of
the strength of this scene. In late 90’s NJ’s scene wasn’t so impressive,
however, and except for few extraordinary projects as Mortal Decay or Ceremonium, it seemed to be stagnant. In last two, three
years, the situation has changed again. With artists as Funebrarum,
Dimmak or The Dying Light, New Jersey comes back in a
great style. Of the many NJ’s bands, old and new ones, Kalopsia
is definitely one of the best ever formed there. Its music is closely related
to NJ’s best death metal traditions. This is not exactly a similarity of a
style. Kalopsia doesn’t follow musical paths of
Ripping Corpse or Human Remains so probably most influential NJ’s death metal
bands. If there is NJ’s band that is a good comparison, this band is Mortal
Decay, but still, the similarity isn’t significant. When I speak about
relations to NJ’s tradition, I mean quality of music so this, what has always
been a trademark of NJ’s scene. Kalopsia plays
original, brutal, technical kind of death metal and this description, although
very simple, tells you everything about it. Kalopsia’s
feature is very rare professionalism. Although “Exquisite Beauty of the
Defiled” has been recorded by unsigned band, the producer of the album is
Francois Dagenais who has worked with Kataklysm, Malevolent Creation and Misery Index. Kalopsia entered Victor Studios to record it (Kataklysm, Cryptopsy). This is
one of the reasons that “Exquisite Beauty of the Defiled” sounds so
brilliantly. It would be a mistake, however, to think that good producer and
relatively expensive studio would be enough to record a good album. Kalopsia’s compositions are most important. Their brutality
and their originality make “Exquisite Beauty of the Defiled” a great proposal
for death metal fans. There is a perfect balance of fast and mid-paced parts,
aggressive drumming and melodic solos, brutal vocals and guitar harmonies. Everything
is very well structured. I should tell you also that in Kalopsia’s
line-up you would find musicians who had been playing in Eschaton
and Funebrarum so although “Exquisite Beauty of the
Defiled” is band’s first album we don’t speak here about newcomers. www.kalopsia.org
Law
of the Plague
“The
War Inside”
Sinternational
Diversity
is Law of the Plague’s main feature. About a year ago I reviewed their three
song promo. Each track was different. A bit surprising was the fact that this
material wasn’t incoherent. That’s a rare ability: to compose very varied
music, which is not incoherent. Debut full-length album, “The War Inside”, is
next proof that Law of the Plague knows how to blend different styles, creating
the new one, their own. Short descriptions of songs will tell you everything
about Law of the Plague’s musical vision. First track, “Moribund” is fast,
aggressive thrash/metal-core fusion. Second track, “Love Your God” is mid-paced
and intense, and almost death metal-like. Third composition, “The War Inside”,
is slow and heavy when it starts, and intense and mid-paced from the middle. In
the next songs, nothing changes analyzing tempo, rhythm and mood. In Law of the
Plague’s case it means that everything changes but nothing is chaotic or
incoherent. It’s very pluralistic material. But more important than diversity
is band’s talent to compose good riffs. Few tracks on “The War Inside” are
really memorable – catchy songs that keep aggression: another band’s feature.
Law of the Plague could be compared to many bands. I have many ideas for
comparisons: Slayer (“South of Heaven”), Fear Factory, Faith No More, even
Rollins Band. I guess that you could add many other names to my list, but all
these comparisons won’t change my general opinion that Law of the Plague is
very original band. And don’t dare call it nu-metal!
It’s much better music. www.sinternational.net
Ominous
“Self-titled”
Self-released,
2003
Ominous
comes from New Jersey. Death metal bands from that state tend to play technical form of this
style. Of course, there are exceptions and Ominous belongs to them. On debut
album, you will hear rather simple compositions. Tracks are short and based on
one scheme taking into consideration their structures; of course generally
speaking for the tracks differ one from another. This relative simplicity isn’t
the failure, at least in my opinion. Above all, Ominous is brutal death metal
band therefore it doesn’t have to write very complicated songs to realize the
ideal of destructive musical assault. In Ominous case, early Deicide is
probably the best comparison, though not very precise. Unfortunately, Ominous
is not as aggressive and fast as Benton’s crew, but
brutal and straightforward compositions have something in common with this old,
good style. The best are fastest parts, which should be, in my opinion, the
direction for future Ominous recordings. When band
slows to mid-paced riffing and drumming, the result is a bit worse, although I
am far from criticizing this side of Ominous
songwriting which is still solid. If there is a problem here, it’s called
‘production’. The same material recorded in good studio would sound ten times
heavier. Ominous album has not very bad production, but definitely it could and
should be better: louder guitars – that’s my first and most important demand. I
am criticizing production for I think that these tracks have a potential to
crush. In the current form, it is solid death metal release. http://ominousnj.tripod.com/
Psychotogen
“The
Calculus of Evil”
Crash
Music, 2003
New
Psychotogen’s album introduces new vocalist, Mike
Harrison. He is well known musician as he played for instance in Misery Index,
Autumn Dawn and Sadistic Torment. Previous vocalist, Rob Kline, joined Florida’s Hatred Unleashed, but according to the latest reports, he has left
also this band. Harrison for Kline is the only line-up change comparing “The Calculus of Evil”
to “Perverse and Unnatural Practices”.
Musically, there are much more differences. What is striking at first glance is
the diversity of approaches to songwriting. 
Psychotogen
is still brutal band but music has become even more technical and complex. As
Atheist and Cynic exerted a profound influence upon Psychotogen’s
members, you should not be surprised hearing many riffs that are far from death
metal orthodoxy, being closer to jazz or progressive metal. However, even these
riffs are often heavy and aggressive therefore death metal fans will not have
any problems to accept them, if they are open-minded. Complicated track
structures express Psychotogen’s amazing songwriting.
You won’t hear any accidental, unnecessary sounds. Each riff is where it should
be. It was band’s feature already on debut CD, but on “The Calculus of Evil” it
has become the mastery. Harrison is surprisingly good vocalist. Judas Priest’s cover proves that. It’s
not easy to sing Halford’s songs and to be up to
this. When I reviewed “Perverse and Unnatural Practices” I praised Pernia’s brothers and Jeremy Grande’s talents that’s why I
don’t need to emphasize how good musicians they are.
However, I feel obliged to say that currently their band is doing exactly the
same thing that Atheist was doing a decade ago: it redefines the boundaries of
death metal. Psychotogen doesn’t invent the new
style, but definitely improves the old one very significantly. http://www.psychotogen.com/
Requiem
“Volume
6”
Ketzer Records, 2002
Requiem
was one of the first Nevada’s
thrash/death bands that became popular in the underground. They didn’t achieve
a huge success but releasing albums regularly and playing many gigs, even in Columbia, Requiem had a good promotion. The new album, “Volume 6”, doesn’t seem
to be a crucial one in the band’s history. It is not good enough to make
Requiem one of the biggest sensations of the year. On the other hand, it’s
solid and good release, therefore old fans will be pleased and Nevada’s crew can find new ones. Requiem plays thrash/death that is not
particularly brutal, aggressive or fast. To some extent, it reminds me of old
Paul Speckmann’s projects although even these
projects were more violent. If the same songs had heavier sound, they would
have more destructive strength. In the current form, Requiem is not a band for
fans of typical death metal brutality. Requiem incorporates some old
thrash-core elements as well. That’s why their sound is a bit old-fashioned but
I wouldn’t say that this is a serious problem. Death metal fans will have objections, thrash-core fans will be pleased.
Sepsism
“To
Prevail in Disgust”
From
Beyond Prod., 2003
I
thought that new Sepsim’s album would be better.
Being a fan of this California’s
band since their demo “Severe Carnal Butchery” (1994), I always expect that
they will record at least crushing material. Debut album, “Purulent
Decomposition” (1999), was very good. The new one, “To Prevail in Disgust”,
recorded after four years of silence, is simply good. That’s the reason of
disappointment. When Sepsism plays very fast, I have
any doubts: they still know how to play murderous death/grind. But when they
slow down, my opinion isn’t so enthusiastic. Maybe the biggest problem is the
production. On previous band’s releases, it was more brutal. This time the
sound, although dirty, is not enough dynamic if you know what I mean. Fast
parts don’t disappoint. Slow and mid-paced riffs don’t sound aggressively
enough. Sepsism’s style hasn’t changed so they are
still one of the best California’s
bands. In spite of my critical remarks, I recommend this album. http://deathmetal.biz/sepsism/#
Seventh
Gate
“Cheap
Sex and Painkillers”
Sinternational, 2003
Frankly,
I thought that Seventh Gate would record better material. What is the biggest
problem for me? Definitely, the vocals. I thought that
they would be more death metal-oriented. Actually, when I reviewed the band’s
previous CD, “None So Bloody as the Kingdom of Christ”, I had the same problem. I regretted that instead of growling, Seventh
Gate used high shrieks, not black metal-like, very special in fact. This time,
most annoying for me are clean, melodic vocals that appear from time to time. I
don’t know why Seventh Gate uses them. In the opening compositions, there are
only brutal and aggressive, low and high vocals, and these parts of the album
are definitely the best. In these tracks, Virginia’s blends death metal, hard-core and grind-core. The result is sometimes
intense and dynamic hybrid metal: not brilliant, but solid and original.
Seventh Gate tries to do something new and to some extent, they are successful.
Unfortunately, the second half of the album is much worse. Compositions are not
varied enough. Instead of interesting additions, we hear these terrible clean
vocals. Without them, it would be much better material although it would not
solve the problem that band’s songwriting is only average. My subjective
advice: use more death metal vocals, forget about clean vocals, play faster and
compose more such songs like the opening composition. www.sinternational.net
Soulless
“Agony’s
Lament”
World
Chaos, 2002
After
good debut CD “The Darkening of Days”, Soulless had very good reputation in the
underground what helped to sign deal with World Chaos. Taking into
consideration that Soulless members had played in such good bands like Bloodsick (pre-Soulless project) or Decrepit, their success
is not a surprise. Also their style, thrash/death metal close to The Haunted
and old Kreator, is a guarantee of fans interest, of
course, if it is well executed. Soulless has very good instrumentalists in the
line-up that’s why solid musicianship is its basic feature. On “Agony’s Lament”
you won’t hear technical displays, but guitar harmonies, interesting solos and
precise drumming will satisfy fans who expect technical performance. Fans of
aggressive thrash/death will enjoy “Agony’s Lament” too. The tracks are
straightforward, fast and dynamic. Sometimes riffing is dangerously melodic but
aggressive Jim Lipucci’s voice makes the tracks raw
enough to please maniacs of old-school thrash. Comparisons to The Haunted and Kreator are justified but it is not exactly the same style
or I should rather underline that Soulless has own style. http://www.soullessdomain.com/
Tiwanaku
“Demo
2003”
If
in one band play such popular musicians as Emo Mowery
(ex-Nocturnus), Richard Christy (Burning Inside,
ex-Death, Iced Earth), Wade Black (ex-Crimson
Glory, ex-Seven Witches, Leash Law) and Rick Renstrom (Rob Rock,
Leash Law), a commercial success (of course limited
to scale of heavy metal scene) seems to be very likely. One could even say that
this project is destined to success. We will see if this theory will be
verified positively, but I would be very surprised if Tiwanaku
remained an unsigned band when record labels see its line-up. However, even
all-stars band isn’t a guarantee of artistic success. The history of music,
also death metal history, is full of disastrous projects created by famous
musicians, who simply failed to compose good songs what is a key to success.
Are you wondering if Tiwanaku is one of these bands?
You shouldn’t as debut demo is simply great. Of course, not everyone will like
it. Fans of death metal in a pure form will have many doubts if Tiwanaku’s vocals are this they would like to hear. Tiwanaku has two vocalists. Emo
Mowery’s voice is very traditional growling. As many death metal singers from Florida, his vocals are well modulated so they are not a monotonous roar. Wade
Black’s is heavy metal singer. His voice is clean and melodic. It is aggressive
as well, but the blend of opposite vocals will surprise many of you. I like it
although I would classify myself as die-hard fan of growling. Tiwanaku’s compositions are very interesting. You know what
Emo played in Nocturnus and
you know what Richard plays in Burning Inside. Tiwanaku
has something in common with both these bands, but there are many new elements
as well and they make Tiwanaku an original project.
This is death metal with very varied background. Intelligent tempo changes,
interesting riffs: everything is a sign of brilliant songwriting. Recording
deal is very likely. http://artists.mp3s.com/artists/630/tiwanakuband.html
Toxic
Holocaust
“Evil
Never Dies”
Witches
Brew, 2003
One
of Delaware’s most blasphemous bands or rather most blasphemous one man project has
recorded good debut album. I heard Toxic Holocaust’s previous material,
“Critical Mass”. Some of tracks presented on it were good, but there were also
songs rather average. On full-length CD, there are only good tracks and that’s
obvious progression. Stylistically, differences aren’t big. This is still very
traditional, old-school death/thrash, influenced by old Slayer, Kreator, Sodom, Sacrifice and
many other great bands from the 80’s. Toxic Holocaust’s songwriting is not
revolutionary, but good enough to has own identity. Tracks on “Evil Never Dies”
are fast and straightforward. Don’t expect any complicated structures and
intricate tempo changes. Riffing is very similar on entire album. Maybe it can
be a problem for someone who doesn’t like thrash/death metal in its most
essential form played two decades ago. For fans of that style, Toxic Holocaust
will be an interesting band that uses old formulas, which definitely are not
fatal to the music, but still very inspiring.
www.geocities.com/toxicholocaust
Triac
“Demo
2003”
Triac’s members have played
in numerous bands, some of them well known in the underground: Enemy Soil,
Agoraphobic Nosebleed, Index, Catholic Priest to name
a few. I have a pleasure to review their debut demo, which is so far one of the
best grind/death metal proposals of 2003. I was surprised when I heard Triac’s sound. It is close to old Swedish death metal and
Autopsy’s traditions. Taking into consideration that Autopsy exerted a profound
influence upon first wave of Swedish death metal, both comparisons are
justified. In addition, some riffs and tempo changes from slow parts of the
demo also remind of old Autopsy. They are very heavy and raw, like on best
death/doom metal albums. However, Triac’s style is
more varied. You will hear not only slow parts but also very fast and very
grinding riffs that are band’s trademark. In this case, old Napalm Death comes
to my mind, because it’s equally uncompromising and furious music. The
intensity of Triac’s songs is crushing. A blend of
slower and faster parts isn’t something completely unusual. I would say that
such blend is popular and natural. However, Virginia’s Triac uses this formula very intelligently,
that’s why originality is one more feature that I can underline in this review.
Triac’s songwriting is more complicated than
traditional grind-core scheme. Tempo changes are sometimes very surprising,
although I wouldn’t call them experimental. Track-structures are original but
at the same time close to old death/grind traditions. They are simply good. As Triac works on new material, I hope that it will release a
full-length album soon. It what would be a natural progression after such
effective demo. www.manofthegear.com/triac
Withered
Earth
“Of
Which They Bleed”
Olympic/Century
Media Records 2003
When
I heard “Forgotten Sunrise” I didn’t become a huge Withered Earth’s fan. It wasn’t
a bad album but at that time (1998) many bands were recording much better
materials. The second Withered Earth’s effort, “Into the Deepest Wounds”, was a
big step forward. Rochester’s
band became one of most interesting projects from mighty New York State. The third CD, “Of Which They Bleed”, is their best work to date. The
style from “Into the Deepest Wounds” is continued and improved. If you don’t
know yet, Withered Earth plays death metal, but it cannot be classified in one
simple category like for instance NY’s death metal or Florida’s death metal or melodic death metal. Band’s members have managed to
write very interesting, original songs in their own, Withered Earth’s style.
Comparing the new album to the previous one, one can notice a bit more melodic
riffing, but it doesn’t mean that the new tracks are softer and less brutal. In
contradistinction to many bands that follow a trend of melodic death/black,
Withered Earth composes catchy music but also uncompromising. Someone could say
that is not possible to play catchy but at the same time uncompromising music.
Maybe it is not an easy task but it is possible. Withered Earth is a proof that
one can find a balance. For example, Kataklysm has
lost it, recording more and more melodic albums, which became too compromising
and trendy lately. Withered Earth hasn’t made the same mistake. Brutality and
aggression – the core of death metal, is the core of “Of Which They Bleed”.
Withered Earth’s music is also ambitious. Catchy and ambitious: is this a next paradox?
Not at all. Withered Earth’s tracks are memorable and
have many remarkable riffs, but they are also complex taking into consideration
track-structures. I would not be surprised if “Of Which They Bleed” became one
of the best selling death metal albums released by Olympic/Century Media in
2003. www.witheredearth.com
www.geocities.com/deathmetalside/mainpage6.html