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Suffocation – Blood Oath (Nuclear Blast Records)

David E. Gehlke
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Suffocation – Blood Oath (Nuclear Blast Records)

The age-old question: “How do you keep brutal death metal interesting over the course of 10 songs?” is a tricky one. It’s a bit maddening really; you take music so rhythmically pummeling and brutal for over the course of a half-hour and what do you have left? Granted, Suffocation – in their near-illustrious history – been able to answer the above question, just reference Effigy of the Forgotten, but on Blood Oath, it’s unfulfilled. Better yet,unanswered.

It’s not like there are no good ideas to be found – just look at the domineering riff assault of the opening title track or “Dismal Dream” – it’s tough, feral stuff. Classic, too. However, those two are stacked at the front of the album and to be frank, they feel like a composite of the rest the album. In fact, the band probably could have gotten away with a total re-arrangement of the tracklisting and the first two jams would still be the best – that’s just howBlood Oath feels.

Vocalist Frank Mullen is still one of the best in the biz (thanks for staying discernable and credible) and he’s often given the same confines in which to work with throughout the back half of the album. When does let ‘er rip and go for the jugular, like on “Images of Purgatory,” it’s like 1991 all over again. No sweatpants, though.

Come to think of it, there’s not a wealth of straight-up brutal death metal going around at the moment, save for Suffocation and the more obvious suspects like Cannibal Corpse. Death metal is more varied now than it ever was, which should prompt a bunch of veterans like Suffocation to at least try to deviate from the norm. Blood Oath is quality – no joke, but it’s not going to make anyone forget about Evisceration Plague.

www.myspace.com/suffocation

(This content originally appeared on Blistering.com)

Jungle Rot – What Horrors Await (Napalm Records)

David E. Gehlke
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Jungle Rot – What Horrors Await (Napalm Records)

For those of you who like your death metal devoid of cliché then the cover of Jungle Rot’s latest release, What Horrors Await is going to be immediately off-putting. Once you get beyond that though, there’s a wealth of old-school Obituary worship to be had. But it doesn’t simply stop there. Jungle Rot purposefully exist in their own right. Tracks like “Two Faced Disgrace” may well be built on the ruins of the past but they get under your skin . That song in particular moving seamlessly between, regular and half-time will stay in your head long after you’re finished listening to it.

Like Obituary before them, there’s plenty of groove in these songs, check out the revving intro to “Speak The Truth” which then turns into a pure heads down, foot on the speaker rocker, pelting out those sliding guitar riffs, drums adding some nice movement in the background. It’s not just the Tardy boys that come to mind either, there’s a little bit of mid-tempo Slayer on offer. The middle eight of “Worst Case Scenario” has plenty in common with “Dead Skin Mask” and there are bits of Chaos AD-era Sepultura on offer (see: “Two Faced Disgrace,” “The Unstoppable” ‘Nerve Gas Catastrophe”).

As someone who grew up listening to death metal in the 90’s you could do a hell of a lot worse than this. It’s got that familiar warmth to it, like slipping into a cut off denim jacket weighed down with patches, and with plenty of traditional, jabbing riffs in here what’s strange is just how catchy it is. Jungle Rot have managed to maintain their ability to write something memorable, yet retain heaviness, which has been their calling card so far in their career.

Yes there are plenty of slowed, half-time sections (“State Of War,” “Nerve Gas Catastrophe”) but they’re not blemished by having to pretend to be beatdowns, especially when they’re underscored by double-tap drums and heaving, swaying guitars. Plus, there’s plenty of heft in those guitars and vocalist/guitarist Dave Matrise has a fine set of lungs on him. It helps that the songs are all relatively short too, coming in like an air strike, doing the damage and getting the hell out.

So Jungle Rot may not have all the slick moves that the kids these days have but anyone over 25 who likes a bit of death metal is going to get a glorious kick out of this. It doesn’t break new ground for the genre in any sense, but it reaffirms what’s good and great about it – the energy, the riffs and to a certain extent, the fun of it all. Keep on rotting.

www.myspace.com/junglerot

(This content originally appeared on Blistering.com)

Magrudergrind – Magrudergrind (Willowtip Records)

David E. Gehlke
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Magrudergrind – Magrudergrind (Willowtip Records)

Opening with a sustained burst of feedback and slowly building noise, Magrudergrind are back, ready to tear off faces with the aptly-titled “The Protocols Of Anti-Sound.” It’s both a statement of intent and reinforcement of their standing in the music spectrum. An intense, grinding force full of blast beats, dirty, slicing riffs and bitter, angry howls, Magrudergrind is the sound of discontent. Short, sharp and gloriously intense fans of Phobia, Pig Destroyer, Insect Warface and Apartment 213 will be sweating through their palms to get at this. Politically aware and pissed off like all good punk messages are delivered single-mindedly and quickly, with as many casualties as possible.

The vocals may be the focal point most of the time, but the drumming is really the star turn in this tornado, able to shift from groove-laden to hyper intense blasts without losing any of its power. The groove may be important, but it’s when Magrudergrind let go into full force, pulverising grind that it really grabs you, especially the thump of that snare being pounded, jagged guitar lines being strewn about like so many worthless company shares.

Other highlights in this quickly, passing shit-storm are the big bass riff during “Assimilated Pollutants,” “Fools Of Contradiction,” which has a great groove right at the start and “Bridge Burner.” In fact, that one is massive sounding, like a bulldozer rumbling around between Admiral Angry, Kylesa and early Mastodon. A slower, intense pulsing creation to what they usually unleash it sits perfectly as it’s got the heft of Godflesh and offers a break from the super fast brutality that’s come before hand and follows soon after. But it’s no respite.

Mixing things up, “Heavier Bombing” opens with a “99 Problems” Jay-Z like hip-hop beat and lazily delivered “gettin’ down with the grind, gettin’ down with the grind, Magrudergrind,” before shredding like a barbed wire explosion. Their use of samples is also excellent, driving home points otherwise missed in the fray, like the uncertainty of identity of “Cranial Media Parasite.” Elsewhere, “Excommunicated” has the intensity and power of Converge, “Rise And Fall Of Empires Past” a brief brick through your front window.

You may see kids at Bring Me The Horizon shows wearing Cannibal Corpse t-shirts and everyone and their kid sister seems to be filling their Deathcore with blast beats and piggy growls but play this for them and they’ll be leaving in tears. There’s no time to be fashionable with these guys – they’d cut your fringe off and shove it up into your guts. Brilliantly uncompromising and thoroughly unrepentant while the rest of the world is wallowing in depression or trying to look for some light at the end of the tunnel, these guys are laying it out straight and telling it as it is.

www.myspace.com/magrudergrind

(This content originally appeared on Blistering.com)

Ex Deo – Romulus (Nuclear Blast Records)

David E. Gehlke
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Ex Deo – Romulus (Nuclear Blast Records)

A lazy person would dub Ex Deo as “Kataklysm without the hyper-blasts,” but it’s not that way at all, dude. Sure, all four current members of Montreal-based DM mongrels comprise Ex Deo, yet this is very much vocalist Maurizo Iacono’s baby and it’s as good, if not better than anything Kataklysm has done since 2002.

Based around Rome and its demise, Ex Deo is as well-researched and put together of an album as they come. Proposed to fit under the epic metal banner, Romulus proves to be an easy sell for both that target audience and even crosses over into death metal territory at various points, especially on “In Her Dark Embrace.”

Vocally, Iacono stays not very far from his Kataklysm comfort zone, which come to think of it, would be a mistake if he did, as the epic undertones the bulk of Romulus call for the man’s hearty belch to be intense, which it is. Plus, guest spots from Behemoth’s Nergal, Nile’s Karl Sanders and Keep of Kalessin’s Obsidian C. can’t hurt either.

Keyboards abound everywhere, courtesy of Blackguard’s Jonathan Leduc who plays about a prominent role as Iacono on the title track and “Storm the Gates of Alesia.” Continuing on with Kataklysm’s song-first approach, Ex Deo is also littered with some choice riffage, most notably on “The Final War” and album highlight “Legio XIII” which boasts a driving main riff that is awfully infectious.

One of the better side-projects to emerge the past decade, Ex Deo is proof positive that the Kataklysm team is not one to be messed with…in Canada…in Rome…wherever.

www.myspace.com/exdeo

(This content originally appeared on Blistering.com)

Tyr – By the Light of the Northern Star (Napalm Records)

David E. Gehlke
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Tyr – By the Light of the Northern Star (Napalm Records)

We’re barely a year removed from the quite excellent Land and here comes the even more excellent By the Light of the Northern Star. It’s no coincidence that Tyr are perhaps the preeminent Viking/folk/Pagan/whatever metal band – they continue to forge their own imitable, striking stamp on a sound that is growing increasingly stale. With By the Light of the Northern Star, Tyr injects some much-needed vigor into a steadily rotting creative corpse.

Still operating without gimmicks or a schtick, Tyr’s understated bombast is in full-force here, as singer/guitarist Heri Joensen leads the charge through nine songs, all keepers, no duds. Even the partially hokey, hurky-jerky opener “Hold the Heathen Hammer High” (that chorus makes one want to do a jig) is charming.

Where Tyr has always made its bread is in the valiant, heroic sonicscapes of songs like “Into the Storm,” which is a definite album highlight, stocked with full-bodied melodies and a monster chorus. We could also make the same case for “Northern Star” which starts with some cool chanting and “Turid Torkilsdottir.”

Even as the album progresses towards it latter stages, Tyr manages to keep things interesting. There’s a certain depth and inherent accessibility to these songs and if we have to make this distinction for the 800th time, we shall do so – Tyr is to this era as Borknagar was to the late 90’s post-black metal/quasi epic metal scene. When songs possess such craftsmanship and gusto (see: The Archaic Course), one can’t help but continue to champion Tyr’s cause. Right on, lads.

www.myspace.com/tyr1

(This content originally appeared on Blistering.com)

Alestorm – Black Sails At Midnight (Napalm Records)

David E. Gehlke
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Alestorm – Black Sails At Midnight (Napalm Records)

Avast, this be pirate metal of the highest order mateys. Hang on, of the highest order? Anyway you get the gist. You’re not going to get anything groundbreaking or too mentally challenging with Alestorm, but what you do get is good time, fun trad metal with a nautical twist, from three Scots and an Irishman. Did you expect anything else? Even if you’re not a fan then you know at least one person who is and you should probably buy this for them ‘cause they’ll have spent all their money on grog.

With a flurry of galloping riffs and trad instrument keyboards beneath waves of heavily, Scottish accented vocals about epic voyages, drunken brawls and general swashbuckling they’re off. Songs such as “Leviathan” have plenty of rustic charm, like a tall tale told in a windy, ramshackle fisherman’s pub late one stormy night. Mastodon it certainly ain’t. That said, Alestorm are no slouches when it comes to their instruments. This is a tight crew, who inject a little toned-down Dragonforce into their solos and the keyboards give a much-needed depth, especially during the intros. You can’t make them walk the plank for not giving it their all. There’s even a tribute to the lovely Captain Morgan’s Old Spiced Rum on here, “That Famous Ol’ Spiced.” Mix that up with a dollop of Cola and you’re on your way. Then listen to “Keelhauled” while you’re out of your skull.

What we need is for these guys and Swashbuckle to team up for a tour of epic, boozing, water-faring proportions. When you think about it Alestorm is a brilliant name isn’t it? Imagine being caught in a storm of ale. Joy.

Probably the best thing about the entire record though is the bit you’re not going to hear. The promo version has a voice-over on some of the tracks. Normally this would go something along the lines of “You are listening to the new blahblahblah album, insert title here.” But these guys go all out: “Yargh! You’re listening to the new Alestorm album Black Sails At Midnight. This songis called ‘Keelhauled.’ Remember piracy is a crime,” – all delivered in a pirate voice. Genius.

www.myspace.com/alestorm

(This content originally appeared on Blistering.com)

Entwine – Painstained (Spinefarm Records)

David E. Gehlke
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Entwine – Painstained (Spinefarm Records)

Entwine’s 2005 effort DiEversity remains a pop Goth metal hit in the Gehlke household, a domicile that is usually not very forgiving of such meanderings. Then again, those luscious, seductive hooks and muscular riffs heard on jams like “Bitter Sweet” and “Still Remains” are simply too catchy to be ignored, thus warranting further investigation into Entwine’s catalog and future releases. Suffice it to say by the rating above, Painstained is a let down.

The Finns have opted for a more up-tempo, rock-based approach, which is understandable, but there is a dearth of hooks across the board. Opener “Soul Sacrifice” sounds forced, as does “Dying Moan” and neither of them have a chorus to go nuts for, which is practically Entwine’s calling card.

Singer Mika Tauriainen’s voice sits softly atop gentle, bobbing guitar work during “Beautifully Confined,” yet comes dangerously close to grazing the wasteland of modern rock radio on “Lost In My Denial,” a failed attempt at a commercial song that would best be suited for someone like Burn Halo. Similar territory is tread on “Dead By Silence,” but this track has some redeeming qualities, in spite of Taurianen’s clichéd and hackneyed lyrics.

We’ll cut Entwine some slack, for they’ve been at the Goth metal game for over a decade now and have exhausted practically every avenue possible on six albums and numerous EP’s. However, the fact of the matter is Painstained is a bust and is hopefully not indicative of things to come for one of Finland’s forerunners of all things dark, romantic and brooding.

(This content originally appeared on Blistering.com)

Amorphis – Skyforger (Nuclear Blast Records)

David E. Gehlke
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0
Amorphis – Skyforger (Nuclear Blast Records)

Is Eclipse not the best “return-to-form” album of the past decade? It is, right? Seriously, Amorphis’ 2006 opus has proven to have more staying power than most albums with that “hey, we’re going back to our old sound” characteristic, so why not stay in tow with that? Said release’s follow-up, 2007’s Silent Waters followed suit, but was a notch below and to be frank, Skyforger is another notch below that. Not that Skyforger isn’t without merit, ‘cause it is, but Amorphis might be getting a wee bit comfortable with their settings.

The third album with singer Tomi Joutsen (who our own MetalGeorge gives “savior” status to), Skyforger maintains that sinewy, gentle ebb that Eclipseushered in. There’s no real aggression here, save for the direct knock-off of Opeth’s “The Grand Conjuration,” “Majestic Beast” which is a clunker. But for the most part, Skyforger rides Joutsen’s er, majestic voice, and Esa Halopainen’s lead guitar lines.

Some graceful moments pop up during the chorus of “Sky Is Mine” and the opening strands of “From the Heaven of My Heart,” which have a nice, Tuonelafeel to them. Probably the same can be applied for “My Sun,” which doesn’t leave much of an impression. “Highest Star” and “Course of Fate” do recall the more glorious moments of Eclipse, which emerge as the more redeeming moments on the album.

Fact of the matter, is that Skyforger was probably a comfortable album for Amorphis to make. They’re past the debacle that was Far From the Sun and now fully distanced from former singer Pasi Koskinen, so the outcome of Skyforger doesn’t come as much of a disappointment or surprise. It’s gratifying, yes, but no landmark, which you can’t expect every time out…unless you’re a demanding prick…

www.myspace.com/amorphis

(This content originally appeared on Blistering.com)

Battlefields – Thresholds of Imbalance (Translation Loss)

David E. Gehlke
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0
Battlefields – Thresholds of Imbalance (Translation Loss)

A boggy, almost stagnant doom concoction, Battlefields are yet another in a long line of sludge doom bands that like to make impatient people (read: me) wait for good things to develop. More often than not, they do, which perhaps is the whole trick behind Thresholds of Imbalance, but it’s hardly gratifying. It’s an album you have to work for, devote time to, nurture, so we’ll leave it up to you doom-heads to figure it out.

The methodical nature of this album is obvious from the get-go, as opener “Disacknowledge” gradually builds up a wall of muddled guitars after a soft intro. “Blueprint” (which is probably the best jam of the bunch) is similar, but has a lovely Isis-esque mid-section that is executed flawlessly…after five minutes of build-up and waiting and waiting.

One could make the argument (and distinction) that Battlefields falls in line with the whole post-metal gang (Neurosis, the aforementioned Isis, Rosetta, etc.), but a deeper dive into Thresholds of Imbalance sorta dispels that notion, as hard as songs like “Quake and Flood” and closer “Majestic” try. There’s no true correlation here; Battlefields belongs in the sludge/doom fray.

It’s a shoe-in this will be accepted by doom throng; it’s got everything you want and more, including retro-Sabbath riffs, slo-mo tempos, and lots of pedestrian happenings. Call it a matter of preference, but this one’s a marathon. Make sure you pace yourself.

www.myspace.com/battlefieldsdoom

(This content originally appeared on Blistering.com)

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