Described in the promo blurb as blackened melodic death metal, and noted as for fans of Arsis, Dissection, Emperor, Necrophagist, Necrophobic, Naglfar, Tribulation, Obscura, and Revocation, I confess I was hooked; I had to check out Inhumation. Continue reading “Unflesh – Inhumation (Review)”
This is a progressive mixture of death and thrash metal that’s not short on confidence or character. Or, for that matter, a rather insane delivery style.
The songs have a decent mixture of aggressive thrash metal, (with a kind of German, Destruction/Kreator feel), and melodic death metal, (Carcass/Arsis), mixed in with more technical and progressive tendencies that see the band producing Continue reading “Archetype – Mission (Review)”
Eschaton play Technical Death Metal with roots that are firmly rooted in the New-School, Modern Death Metal camp.
Insane riffs and time signature changes merge with utterly inhuman drumming for a listening experience that’s as brutal as it is compelling. You’ve gotta love this kind of mayhem.
Things do slow down enough for the band to have some good old-fashioned chug-n-groove-n-squeal sections as well as more modern, rhythmical riffing. Even these are firmly embedded in a wider framework of frenzied musical exploration, however.
Leads and solos abound, all centred around the ridiculously surgical drumming. I feel like the drummer should be given a medal for his services to tub-thumping, or something. But then, when he’s a veteran of bands such as Incinerate, Pillory, Arsis and Vile, to name but a few, it’s no wonder he sounds like a serious player in the drumming world.
The rest of the musicians seem to be highly proficient in their trade too though. There’s the guitars of course, so many that we just seem to get extra guitars on top of guitars! In actuality there were only three members to Eschaton during this recording but the sound they make could easily lead you to believe this was a six-piece band.
We mustn’t forget the vocalist either. He has a throaty, guttural roar that focuses the chaos of the music as it rages around him. His voice is versatile enough to fit in with the extremity of the rest of the band and the consistency he provides acts as a grounding point to the swirling maelstrom of Eschaton’s delivery. He also branches out into high screams territory, and these are performed as equally well as the growls.
This is brutal, extreme music for fans of proper Technical Modern Death Metal. When confronted with music like this, most will falter. Will that be your fate, or will you be one of the elite and embrace Eschaton?
This is music with an evil feel created by minions of some Dark Lord or other who worship and defile their way through 8 tracks of daemonic Death Metal.
The deep growls and high screams call out hymns to darkness whilst the crushing production allows the music to be both heavy and precise.
All of the instruments are clear and played with surgical steel. The drums have an especially crisp sound to them, the bass is audible and worthwhile and the guitars have a crunchy, crushing edge.
The riffs have a Blackened feel to a lot of the melodies which adds a touch of the underworld to the songs; they already have a malevolent feel to them as it is and as the band are mainly interested in creating a brutally evil atmosphere it’s only to be expected that a Black Metal influence should make its way onto the album.
The songs are very enjoyable and make the most of their relatively short playing time by effortlessly blending the brutality of streamlined Death Metal with the dark feeling of Black Metal.
Emblazoned combine parts of bands like Deicide, The Black Dahlia Murder, Satyricon, Behemoth, Arsis and Lvcifyre into their merciless sound and the result is a very strong album indeed.
It’s time for you to check out Emblazoned and join them in their war against the forces of light.
A strong start introduces the band and their heavy, sprawling sound to the listener. It’s complex and interlinked whilst retaining a brutality and nastiness a lot of Technical Death Metal bands are lacking in.
This is Technical Death Metal mixed up with the modern, New-School breed of crushingly Brutal Death Metal. It’s a heady combination that immediately makes you sit up and take notice of them.
The songs are long, (for Death Metal), and the band use this time to explore the labyrinthine riffs and to show off their musical chops.
They appear to have quite the mixture of influences on this release. I hear elements of Cephalic Carnage, Carcass, Spawn of Possession, Arsis, Gorguts, Decapitated and many more crammed into the technically dense songs. There is too much going on here to absorb in one listening, which is a good thing as it increases the longevity of the album.
Vocally the band incorporate pretty much all styles in the album somewhere, although high-pitched Carcass-esque screams are the most used.
The sound is absolutely immense. It sonically shines and the tracks hit home like hammers. It doesn’t get stale or boring as the band have enough variety within their framework to introduce elements of several Death Metal sub-genres; Brutal Death Metal, Melodic Death Metal and Deathcore being the main ones in addition to the core of Technical Death Metal.
New Order of the Ages is an ambitious album; 68 minutes of music with plenty of ideas and enough talent to hold it all together. Piano and samples are used liberally to help spread the band’s message and to provide breaks between bouts of swirling riffs and widdly fret-wizardry.
I heartily recommend this album to anyone who enjoys bold, challenging, heavy, technical music. If this is you then this is a must listen.