Death Metal – Page 166 – Wonderbox Metal

Cauldron Black Ram – Stalagmire (Review)

This is the third album from Australian Death Metal band Cauldron Black Ram.

The band have a very striking sound that instantly forces you to sit up and pay attention. Sort of like Six Feet Under crossed with Venom and Celtic Frost.

There is an air of Sludge to the songs; a foetid whiff of mouldy corpses long sealed in a basement. Add to this a decent Black Metal influence on occasion, and you have a bumpy ride over the screaming bodies of countless poor passers by as this Metal juggernaut rolls into town.

They have a very fluid sound in the sense that the songs can morph into different shades of Metal quite quickly, with different riffs, vocals and drumming patterns all asserting themselves dominantly depending on the song. All of this happens within the Death/Black/Sludge Metal framework of course, but it does mean that there’s never any chance to get bored when the band have so many tools to club their way into your attention.

Although I wouldn’t call them Old-School per se, there is a definite Old-School streak to them and they even have some prime Heavy Metal, almost Iron Maiden-type moments now and again.

This is an interesting and gratifying Metal album. All the more so for the fact that it’s a little different from the norm. A lot of talent and effort has gone into these songs, and it shows.

Get your fix of Cauldron Black Ram today.

Terminal Prospect – Redefine Existence (Review)

Time for a bit of Swedish Melodic Death Metal in the form of Terminal Prospect and their second album Redefine Existence.

At 11 tracks in 34 minutes, most of the songs are quite short and to the point. This is from the same school of Metal as The Haunted, early In Flames, Darkane, At The Gates, etc. and it’s better than you probably imagine.

The album starts with the high-pitched screams of the singer, whose vocals appear to be designed to scratch at the brain while the music batters your chest. He screams and shrieks his way through the songs in an effective manner, and it works particularly well when he locks into a rhythm with the guitars and they work together as one.

The songs are streamlined and full of melodic flourish, while still keeping the Thrash feel of the riffs alive and well. There are some nice guitar parts and the band have a vibrant feeling to a lot of the riffs. This vibrant feeling is important; it would be easy for a band like this to have tired-sounding guitars. Although it’s exceptionally hard for any group to have completely unique riffs, melodies etc., and Terminal Prospect don’t fall into this category, (as most bands don’t); at least they still sound young, fresh and full of life. There is no going-through-the-motions here, it’s all done for the love of Metal.

A quality album that is easy to digest and leaves a pleasant taste in the mouth. Recommended.

Avulsed – Ritual Zombi (Review)

This is Avulsed’s sixth album and the veteran Death Metal juggernaut shows no sign of let up in either the aggression or quality departments.

If you haven’t encountered Avulsed before then I heartily recommend you get hold of their entire back catalogue as they have released some great Death Metal over the years.

Their style is brutality spiced up with unexpected moments of melody and a large degree of catchiness. Yes; Death Metal with songs!

Their latest album is no different; here we get ultra-heavy song-based Death Metal with a production that melts faces all delivered by a band who have made Metal their true calling in life. This passion shines through and I think is one of the reasons that Avulsed are so good at what they do.

They’ve never shied away from the odd unexpected moment either; the odd keyboard-enhanced section or Spanish guitar track has been known to make it through the mincer on occasion to throw in a bit of light in all of the gore-drenched chaos. This is the exception of course, as the vast majority is pure unadulterated Death Metal.

This zombie-themed album smashes skulls and scores kill-shots with every song. Vocalist Dave Rotten once again putting in a stellar performance with guttural, bowel-loosening growls honed through decades of use.

There is also a cover of Death’s Zombie Ritual to chew on.

Avulsed continue to be one of the best Death Metal bands around. This album is expertly crafted, proficiently played and staunchly Death Metal; any fan of brutality should have this in their collection.

Alterbeast – Immortal (Review)

Alterbeast are from the US and on this their début album they treat us to a Technical Death Metal showcase.

Immortal is 8 tracks in just under 30 minutes of a band showing that they can not only play insanely well but that they can craft enjoyable Metal while they do it.

It shreds, rips, blasts and batters in all the right ways and at the end of it you’re left wondering what the Hell just happened. And where did your teeth go?

Their sheer wanton love of Brutal Death Metal and technical proficiency combines effortlessly to produce one hell of an album. Alterbeast manage to straddle both brutality and technicality at the same time so that one doesn’t overpower the other. This effortless sewing together of the two sub-genres of Death metal means that Immortal is a very complete album with both songs and fretboard domination. They can also be surprisingly melodic whent hey want to be, further emphasizing their advanced songwriting skills.

The singer has an amazing voice whether he is growling deeply or screaming his lungs out; either way he stays on top of the melodically-chaotic mayhem and demonstrates a gleeful attitude to his attack.

The sound of the album is just immense; all of the instruments are crystal clear and the guitars have a great heaviness to them that translates into molten gold when the solos and leads appear. As for the drummer he is technically precise without sounding sterile and forms a real backdrop to the carnage that the guitars wreak and the aggression spewed by the singer.

I won’t hide my love for this kind of ultra-modern, ultra-slick Death Metal. This is essential.

Chaos Plague – Chaos Plague (Review)

Chaos Plague are from Italy and this is their first EP of Progressive Death Metal.

The music is technical as you would imagine, with interesting riffs and arrangements for each of the three songs on this EP.

This is a combination of Death Metal and Progressive Metal which means we get the Death Metal parts with angular riffing, but we also get more relaxed and calmer moments with clean vocals. These clear vocals are competent enough but for me the growling steals the show as these deeper grunts sound like monolithic stone slabs dragging against each other.

Apart from the angular fretwork the drums are exercises in precision and the bass is much more audible than the norm.

The 17 minutes of Metal on this EP hits the spot and hopefully they can develop their style even further for their next release. Very promising indeed.

Insain – Enlightening the Unknown (Review)

French band Insain play Brutal Death Metal.

Sadly they are no longer with us, but even with only a small number of releases they have left a powerful legacy and an enduring mark on the face of French Death Metal.

Their first album Spiritual Rebirth was a thoroughly enjoyable and satisfying listen in the way that only the best Death Metal can be. Now with this final EP we’ll never know the heights they might have ascended to, but we are left with a new release that meets and even exceeds the standards set with their début.

The sound is huge and immense, like heightened gravity crushing down on you. The songs blast and bruise with the best of them, making full use of the sonic clarity to batter and beat you into submission.

The drums sound especially meaty. Double bass sections twist and turn with the guitars while blast beats overpower everything in sight by sheer force of inertia.

The deep grunting vocals are highlighted by the occasional scream and are utterly relentless and unforgiving in their delivery.

Although this is Brutal Death Metal the band are not adverse to injecting a bit of lonesome melody into the mix; a lead here, a solo there. It all adds a splash of colour to the brutality and demonstrates why Insain are so good at what they do. Or were, at least.

At 25 minutes in length there is no chance for it to get old, and every chance for savage aural pleasure. If only there was more where this came from! A must have.

Craving – At Dawn (Review)

Craving are from Germany and play lengthy Death Metal with Folk and Black Metal influences.

This is their second album and Craving are really coming into their own. Combining brutality, melody and Folk harmonies the band have produced 66 minutes of music that transport the listener back in time and away from the hum drum pace of normal life.

There is a medieval vibe permeating the songs, although this is juxtaposed against the heavier more brutal Death Metal parts. Sort of like a more aggressive Amon Amarth mixed with Korpiklaani or Finntroll.

Each of the long songs is a combination of the aforementioned styles, and across the album we get a bit of everything; Melodic Death Metal, Folk Metal, some Black Metal riffs…it creates an enticing package and manages to stay interesting for the entire running length.

The songs are memorable and the band effortlessly play both brutal and melodic parts with abandon. The ease in which they can transition from heavy, blasting sections into melodic, atmospheric moods is a pleasure to behold.

The vocals are mainly guttural Death Metal vocals, although on occasion Black Metal screams punctuate the blasting. On top of this there are also Folky cleans, some of which are rousing, heroic and quite epic in nature.

This is a Melodic Death Metal album that manages to embrace its Folk side without sacrificing its teeth, and for that reason alone is worthy of being listened to. Add to that the fact that it’s a very enjoyable album that stirs the Metal heart…well we have a keeper here.

Sound of Memories – Living Circles (Review)

This is the début EP from French Melodic Death Metal band Sound of Memories.

This is a well recorded, well written début that takes its cues from bands such as In Flames and Withering Surface.

Upon listening to the first track Cyborg From Dust I must confess that for some reason I wasn’t expecting clean vocals to make an appearance, (not sure why), but when they do they’re done surprisingly well and actually enhance the song; especially as they’re only used the once. For the rest of the time the vocals alternate largely between screams and grunts, both of which are done effectively.

For such a relatively young band the professionalism of this release is impressive. Not only do they have a crystal clear sound where the instruments sound vibrant and sharp, but they have plenty of ideas and talent with the skills and musicianship to pull them off. Even the bass gets to shine.

This is hugely enjoyable, reminiscent of the 90’s/00’s when this kind of music was very in vogue. In this respect Sound of Memories is a very apt name as it certainly takes me back. Having said that however the sound is thoroughly up-to-date and the band clearly have ambitions bigger than living in the past.

A very impressive début release. Hopefully the first of many.

Mass Infection – For I Am Genocide (Review)

This is Greek band Mass Infection’s third album full of Brutal Death Metal treats.

Soundwise we’re immediately treated to a prime recording with everything sounding as it should and with all instruments ready to pulverise on command. The band play their Death Metal fast and rhythmical; a blend of Malevolent Creation and Hate Eternal let’s say.

The drums fly by at escape velocity while the guitars shred anything in sight. The songs are not overtly technical but neither are they simply constructed; the musicians know how to play that much is certain, but they never put showing off above a good riff. There are even some almost, dare I say it, hooks here; Hierarchy of the Highest Abomination contains bits that easily stick in the mind, for example.

The songs are written well and at 36 minutes it doesn’t outstay its welcome.

The vocals are nice and deep just as we like it, and the singer growls his way through the tracks like his life depends on it. Who knows, maybe it does?

For I Am Genocide is an album that’s hard to fault played by a band at the height of their powers. Mandatory listening for every Death Metalhead out there.

Enthrallment – The Voice of Human Perversity (Review)

Enthrallment are from Bulgaria and play Brutal Death Metal. This is the fourth album from these veterans.

The riffs roll over the drums like a sinuous reptilian in search of a fresh kill. The sense of flowing, lean musculature and predatory instinct is strong with this one.

Speed and technicality are not the be all and end all of Death Metal, (although they certainly have their place in The Voice of Human Perversity), and Enthrallment seem well aware of this fact. More important to them are the songs themselves and a heavy, catchy riff. Of the former we get 8 hymns to brutality in just under 35 minutes, and of the latter we get absolutely bucketfuls.

Interesting and darkly passionate; the riffs slide out of the speakers and into the wound. The solos are equally penetrating and the bass is vibrant, clear and utilised fully; the benefits of a quality recording.

The singer treats us to a nice deep grunt that works with the music to bring the songs to life. He has vocals that fully engage; rhythmic and brutal without sacrificing delivery.

This is a compelling offering that has a timeless quality; the kind of album you could imagine listening to when Death Metal was fresh and new to you, but conversely still sounds fresh now even though you’re a jaded Death Metal warrior.

This is why Metal will never die and inspires such passion in its adherents. Is there any better form of music? The answer is no. No there isn’t. Enthrallment embody this indomitable spirit.