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Sepultura – A-Lex (SPV Records)

David E. Gehlke
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Sepultura – A-Lex (SPV Records)

With little or no staying power to the Derrick Green era, Sepultura finds itself with a perpetual uphill battle, made all the more daunting now the band is totally Cavalera-less. Sure, new drummer Jean Dollabella is a skilled sticksman, even dominating numbers like “Strike” and “What I Do!,” but the pizzazz that Igor Cavalera brought to the drums isn’t there. Obviously, the same can be said for Green still trying to replace Max Cavalera – it’s not the same, no matter how good of a vocalist he is. In the end, that is stigma attached to Green-era Sepultura.

Nevertheless, A-Lex is a lot better than initial reports, with some chunky riffage highlighting “Filthy Rot” and “Conform.” The storyline around Stanley Kubrick’s classic A Clockwork Orange is an area rarely touched upon in metal, so kudos to the Seps for going after this.

Lead guitarist Andreas Kisser gives his best performance in 15 years, rattling off classic solos on “Moloko Mesto” and “We’ve Lost You.” As for Green, his vocals are no longer an acquired taste, having now fully grown into his role as frontman on 2006’s better-than-good Dante XXI. The man displays some nice versatility between his patented growls on “The Treatment” and “Conform,” two standout numbers.

We could sit here and argue the merits of a Cavalera-less Sepultura (methinks the name should have been changed once the drum throne was vacated by Igor), but the band is fully committed to Green and life without Max. This only makes things more difficult for the band to release new material, as regardless of the quality, the Cavalera connection is forever going to be there. It’s like when Maiden dropped Bruce for Blaze or Ripper filled in for Halford – the two parties are forever linked. Shame, ‘cause it really overshadows the fact that A-Lex is a pretty good album.

www.myspace.com/sepultura

(This content originally appeared on Blistering.com)

Satyricon – The Age of Nero (Koch Records)

David E. Gehlke
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Satyricon – The Age of Nero (Koch Records)

Never one to stand still, Satryicon mainman Satyr (aka Sigurd Wongraven) has made another personal affront to moving his dastardly duo forward with The Age of Nero. Sure, a rehash of 2006’s gleaming Now, Diabolical would have been suitable, even enough to satiate us for another couple of years, but no, that’s not how he and drummer Frost operate. The Age of Nero is painstakingly precise, yet devilishly simple at the same time, proving that while the rest of Nordic BM is content to stand pat, Satyricon are already onto something else.

If we were to look at this one way, it be that The Age of Nero is an extension of the down-and-dirty, raw black and roll heard on both Now, Diabolical and 2002’s breakthrough Volcano. The riffs are simple, but have enough thrust and power to last eons (see the subtle repletion of “Black Crow On A Tombstone”). Satyr is as discernable and provocative as ever, especially on album opener “Commando” where he literally is shouting commands at the black metal throng.

Where The Age of Nero works best is during the sleazy, almost sensuous (yeah, really) riffing of “The Wolfpack.” Satyr (who handles all instrumentation besides drums) has become the master of the 4/4 BM riff, no longer needing the amped-up speed and melodic frenetics of his early years. Lead single “My Skin Is Cold” is effective, as is the short and stout “Last Man Standing.”

Frost never lets it rip here, although it has been stated by Satyr a million times that the skinsman has become a rather effective groove drummer. Guess he wants to save his blast skills for 1349, eh?

At face value, The Age of Nero isn’t going to shock or surprise anyone. Instead, it’s the type of album that will gradually weave its way into your psyche. There’s lots of depth here, even with simple and basic songs and better yet, there’s this grandiose, almost pompous attitude with this thing that makes Satyricon far more bold and say, a Dimmu Borgir.

www.satyricon.no

(This content originally appeared on Blistering.com)

Christ Inversion – Christ Inversion (Housecore Records)

David E. Gehlke
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Christ Inversion – Christ Inversion (Housecore Records)

Phil Anselmo post-Pantera has been a mess. Outside of Down’s capable, but hardly world-beating III from 2007, the man’s work in the awful Superjoint Ritual and Arson Anthem has been pretty below average and we’re talking Damageplan below average, Dime RIP. It’s no secret the man has had a certain fondness for low-grade, necro black metal and we get to see that side with his long-defunct Christ Inversion.

On this re-release of a 1994 demo, Anselmo handles guitars, with Wayne Fabra on vocals, Jay Gracianette on bass, Ross Karpelman on keyboards, and Gary Herbert on drums. The motive here, is to bring forth Anselmo’s keen interest in Satanism to the forefront and given the time and context, this pales in comparison to the releases of that time – Darkthrone’s Translyvanian Hungerand Emperor’s In the Nightside Eclipse to name just a few.

Basically, we have mish-mash of clunky, ill-conceived numbers with bland riffing (see: Enochian Tongues”), pointless Satanic chants (“Prudent to the Thrones of God”) and childish, almost amateur samples (Chimes of Deafening Misery”).

Not a whole lot to write about here – Christ Inversion was kept at demo-level by Anselmo for a reason and had this come out during Pantera’s heyday, surely a lot of feathers would be ruffled, and better yet, Anselmo’s street cred with his Norwegian BM buddies would take a mighty hit.

www.myspace.com/housecorerecords

(This content originally appeared on Blistering.com)

Deadlock – Manifesto (Lifeforce Records)

David E. Gehlke
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Deadlock – Manifesto (Lifeforce Records)

In theory, an album like Manifesto belongs in the garbage can. It’s over-polished, uniformly produced, and blatantly formulaic. Purveying the brand of modern melodic death metal that Scar Symmetry and Sonic Syndicate have now popularized, Deadlock have somehow managed to turn lemons into lemonade, or for that matter, create an album that has surprisingly ample weight.

The two-headed vocal attack of Sabine Weniger (she does clean) and Johannes Perm (he does dirty) is hardly new, yet Weniger’s seismic, poppy vocal hooks in the choruses of “Martyr to Science,” “The Brave/Agony Applause” and “Seal Slayer” are just too much to resist. Granted, these are the type of selections one can quickly tire on (we’re getting there…), yet Weniger adds a unique dimension to an otherwise stale format of metal.

Utilizing the services of Jacob Hansen (Mercenary, Heaven Shall Burn, etc.) unfortunately makes Manifesto sound like…every other album coming from Hansen. Guitars bristle and shine with plenty of pop, especially on “Slaughter’s Palace,” but it rings too familiar.

Some questionable moves on Manifesto include the opening techno segment “The Moribund Choir vs. the Trumpets of Armageddon” and a rap outro on “Deathrace.” Sticklers like yours truly aren’t exactly forgiving of this sort of thing, yet the scene kids will no doubt hail this as something momentous.

Deadlock are from the best band on Lifeforce (that distinction would belong to Nightrage), but they offer an alternative to the mediocre melodic metalcore horde that consists of most of the label’s roster. One might be taken aback at how sticky-sweet Weniger’s choruses are, but a good hook is like a hot chick – you don’t pass ‘em up.

www.xdeadlockx.com

(This content originally appeared on Blistering.com)

Kivimetsan Druidi – Shadowheart (Century Media Records)

David E. Gehlke
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Kivimetsan Druidi – Shadowheart (Century Media Records)

Pagan metal bands…they don’t die, they multiply. The year has seen a rash of bands emerge in this realm that gives weigh to the notion that this trend is sure to die out in no time. That’s just how it works – trends don’t last in metal. Of course, that’s not to say there aren’t any good Pagan metal bands (Eluveitie, Ensiferum, Suidakra instantly come to mind), it’s just that there are so many now, it’s getting hard to differentiate them all.

The latest entry into the fray comes in the form of Finland’s Kivimestan Druidi, who throw the ‘ole curveball by using a wealth of female vocals. Sounding like a watered-down Moonsorrow, mixed with the occasional extreme burst and hokey ho-down of a Finntroll, Kivimetsan Druidi do very little to establish themselves and in doing so, only further bog down this subgenre.

There are some meaty tunes here, like “Pedon Loitsu,” which contains some booming keyboards, the frenzied “Halls of Shadowheart” and valiant “The Tyrant,” which is a number that would make the very-overrated Turisas proud. Yet, the gallant and battle-tested hooks that the aforementioned bands of this ilk are so good at, are not evident here. Vocalist Leeni Maria has an average opera metal voice (think Tarja Turunen on a bad day), while the arrangements hardly evoke any speckle of epicness.

To further compound matters, it’s hard to decipher the band’s slant, you know – their calling card, if you will. Eluveitie employs a Celtic vibe, Ensiferum a classic Pagan vibe, so on and so forth, but Kivimetsan Druidi don’t have a point of emphasis. They’re just filling in the blanks. Or at least trying to.

Give us until mid-2009 and this stuff will already be beyond stale. And what’s troublesome is around that time, the bands of quality will be ready to release a new album and chances are, everyone will trash it. Ugh. Nothing much of value here, unless you’re looking to pad your CD collection.

www.myspace.com/kivimetsandruidi

(This content originally appeared on Blistering.com)

Dodsferd – Death Set the Beginning Of My Journey (Moribund Records)

David E. Gehlke
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Dodsferd – Death Set the Beginning Of My Journey (Moribund Records)

That horseshit saying that black metal is supposed to have no rules is rarely applied when discussing the bulk of current BM bands. The scene is so fragmented and divided, it doesn’t really matter who can establish themselves as the most true, so maybe that’s why Death Set the Beginning of My Journeyis so raw and enjoyable. Lone dude Wrath is just so unhinged and so savvy with his songwriting, that it’s so easy to get into this album (and band) that it’s not even a joke.

One look at the song titles might make one think otherwise, but when put into the context of the band’s very necro, but swathed in melody sound, it all comes together. Wrath handles everything (as he should) and never lays off the gas. Better yet, his tortured wails are truly terrorizing on “You Were Talking About A Kingdom, What the Fuck Is That?” evoking the spirit of one Varg Vikernes (Burzum).

When Wrath sets melody into motion, as in “Suicide Was Created By Your Competance” and more noticeably, “Death Set the Beginning Of My Journey,” Dodsferd’s songs become less about his ethos and deranged song titles and more about how well these compositions are put together.

Killer stuff across the board, Dodsferd is one of the few true, necro BM bands worth following. By no means does Wrath have this down to a science (he occassionaly gets too carried away), Death Set the Beginning of My Journey is one of the rare moments when music this primitive and primal becomes forward-thinking and engaging.

www.moribundcult.com

(This content originally appeared on Blistering.com)

Opeth – The Roundhouse Tapes DVD (Peaceville)

David E. Gehlke
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0
Opeth – The Roundhouse Tapes DVD (Peaceville)

In the live setting, Opeth are pretty stationary, but man, that Mikael Akerfeldt sure is a hoot on the mic! But no, seriously, the band can faithfully recreate their deep and often challenging brand of progressive death metal without a problem and that alone, is another pile of praise worth being heaped upon the band. Visually, in DVD format, the band doesn’t quite come across as captivating.

The visual version of the same 2006 London show at the Roundhouse in London, The Roundhouse Tapes is the last shot of now-departed guitarist Peter Lindgren and knowing what we know now, his disinterest on stage is painfully evident. Nevertheless, Opeth rolls through a set that touches upon every one of their studio albums, with a few surprises.

”When,” off 1998’s killer My Arms, Your Hearse starts thing off and still sounds as menacing and haunting as ever. The grueling “Ghost of Perdition” and classic “Under the Weeping Moon” get quality air time, as does the lovely “Face of Melinda” and “Windowpane.”

Hats off to then-new drummer Martin Axenrot, who had the dubious task of latching onto an Opeth back catalog that is anything but easy. His work on “Blackwater Park” is especially agile. Mandatory set number “Demon of the Fall” also gets a workout from Axenrot and provoked the largest crowd reaction of the night.

Visually, Opeth aren’t much to look at. Lindgren is in one spot. So is bassist Martin Mendez. Keyboardist Per Wiberg is perched behind his stand, so that leaves Akerfeldt to provide some cool interaction and he’s just too damn tied up in singing and strumming to do so. Understood.

Little in terms of extras outside of a band interview and soundcheck, so toss this one up to a purchase mandatory of Opeth diehards, which there are rightfully many of.

www.myspace.com/opeth

(This content originally appeared on Blistering.com)

Behemoth – Ezkaton EP (Metal Blade Records)

David E. Gehlke
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Behemoth – Ezkaton EP (Metal Blade Records)

Odd sight seeing the Poles on Metal Blade, this, after an immensely successful run on Century Media where the band for all intents and purposes, was shot into the extreme metal stratosphere. Now on a much deserved break, we get the stop-gap Ezkaton EP, a collection of re-recordings, covers, and live tunes, all done in the now-renowned fervor and intensity Behemoth is known for.

Leading things off is a re-recording of “Chant For Ezkaton 2000 e.v.” originally heard on the band’s Thelema 6 effort and new tune, “Qadosh,” which was a leftover from the Apostasy recording sessions. “Qadosh” falls right in line with a lot material from said album, with a preponderance of blasts and evil, sinister melodies.

Covers of The Ramones’ “I’m Not Jesus” and Master Hammer’s “Jama Pekel” are tolerable and well-performed, but don’t really seem to fit with the whole attitude and aura of Behemoth. Guess that’s what an EP is for.

Next year will bring a new full-length and if bets are on, we’re thinking Nergal and co. will bring on another stormer. For now, Ezkaton will satiate only a select few, but again, it has served its purpose.

www.behemoth.pl

(This content originally appeared on Blistering.com)

Kreator – Hordes of Chaos (SPV Records)

David E. Gehlke
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0
Kreator – Hordes of Chaos (SPV Records)

Not too enthused about having to give this an 8/10, especially considering how monumental and fresh 2001’s Violent Revolution and 2005’sEnemy of God were. Yet, here are Mille and the gang, back at it after a four-year layoff in between albums with Hordes of Chaos. A lot speedier than one would anticipate, Hordes of Chaos doesn’t assert oneself like its predecessors, nor does it enthrall, but it’s way better, heck, even annihilates any of this new thrash crap, so there’s your silver lining.

No Andy Sneap this time, which is not necessarily a bad thing considering how uniform his production jobs are starting to sound. A lively and raw production job sees drummer Ventor with a little more pop than usual and even Mille’s vocals crack and show no signs of processing. In fact, the singer/guitarist sounds more pissed than ever, especially during the title track and the chorus of “Amok Run,” poor wordplay and all.

If one is deft enough, you should remember those charming melodies the band infused on songs like “Replicas of Life,” “Bittersweet Revenge,” “Dystopia” and “Dying Race Apocalypse,” all of which kept Kreator’s thrash ante upped, but added a smart flavor that kept the songs moving and mobile. On Hordes of Chaos, there’s not as much, with only a few sparks coming up during “Warcurse” and “Demon Prince.”

More mid-paced numbers ala a “Ghetto War” or “Impossible Brutality” would have done the trick, and only “Escalation” and “To the Afterborn” approach those measures. It’s not like we haven’t heard Kreator go all-out, and that was in 1987. It feels as if Kreator is trying to keep up with all the baby thrashbands and really, they don’t have to. They could pound those kids into dust with a sound groove number.

Had this been the album after the dreadful Endorama, we’d be going bonkers, but the bar is just too high for Hordes of Chaos. When you have two shining thrash moments of the millennium to your name and have had the fortune of being able to tour relentlessly off two measly releases, then you’re doing something right. Make no mistake – Hordes of Chaos is good, but if you missed out on Kreator’s other two outputs this decade, you either: a.) don’t know thrash or b.) are without the benefit of good taste. Take your pick.

www.kreator-terrorzone.de

(This content originally appeared on Blistering.com)

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