Death Metal – Page 232 – Wonderbox Metal

Soul Remnants – Black and Blood (Review)

Soul Remnants play song-based Death Metal with a nice thrashy edge to it. Predominantly USDM-style, they are not afraid to mix it up with the occasional keyboard highlight, some slightly more Black-Metal-esque passages, variety in vocals, etc. Eight minute epic Dead Black (Heart of Ice) is a perfect example of this. Mixing Death and Thrash is not too uncommon; less common however is integrating the odd Black Metal riff or section into the boiling pot, especially when it works well and seems natural.

Working with the confines of the Death Metal genre this is a surprisingly diverse album. They can, (and do), blast with the best of them of course, but they also do more than just that. Melodic, emotive passages sit comfortably next to brutality and harshness. Some good lead work over a solid structure of riffing and percussion means that they are clearly in touch with their thrash side while comfortably remaining of the Death Metal camp.

And there are some galloping riffs here! It’s hard to fault this album when it comes to the riffs and the feelings they evoke. Whether they are going for the throat or want to convey a sense of crawling malice they hit the spot. Solid songwriting and dynamics elevate this album higher than most.

This is the band’s second album – based on this release I wish them many more in the future.

Mortal Decay – The Blueprint for Blood Spatter (Review)

Mortal Decay are veterans of the USDM scene having been birthed in 1991. This is their 4th album and their first in 8 years. And it’s good. Very good.

Blasting USDM in the classic mould with plenty of brutality, blastbeats and harmonics to satisfy even the most jaded Metal fan. Quite simply this album dares you not to bang that head and just destroys anyone foolish enough to get in the way of this juggernaut. This is Death Metal for Death Metal fans, pure and unadulterated.

They deal in precise, choppy songs filled with blasting and gore-soaked vocals professionally delivered and wrapped in skin. The stench of the last victim still present as they rip, tear and shred their way through the next one.

If you’re a fan of Death Metal then you can’t go wrong with this.

Mental Killing Spree – Centrifuge of Man (Review)

Incredibly muscular Death Metal from Germany from a band with big ambition and a refusal to be run-of-the-mill.

The sound is rock solid; both the drums and guitar sound like slabs of concrete and the vocalist sounds like he’s gargling granite. The riffs are thick and sinuous; twisting, turning, chugging and shredding their way straight to your ears.

The band play forward-thinking, modern Death Metal but performed in a traditional way; so none of the hardcore/djent additions that some bands have – just pure Death Metal played honestly and brutally. But there’s more.

The band also has a refreshing ear for dynamics and structure. Although undeniably brutal there is more than just that going on here. Songs like Equal Zero Coincidence, for example, displaying some very well composed parts with good ideas shining through – tension-raising sections and similar emotive passages all raising the standard above the average.

Taking a standard Death Metal template and improving it with good songs and good ideas, band like Mental Killing Spree need to be supported. Do yourself a favour and check them out today.

Disfigured Dead – Relentless (Review)

This is the second full-length album from US Death Metal group Disfigured Dead. Boldly named Relentless – does it live up to its name? Pretty much, yes.

Blasting out of the speakers comes the Relentless, (ahem), statement of intent – no intro, no messing around; just straight up brutality and heaviness. As well as plenty of blastbeats we are treated to some punishing slower and more mid-paced segments that make the most of the good guitar sound that they have.

They also have some riffs. Everyone likes a good riff. They know how to write some very mosh-friendly sections and I can imagine them going down extremely well in the local pit.

The vocals are very accomplished – just the right side of cookie-monster vocals for the most part, with some nice vocalisations and patterns used. On the whole the vocals are satisfying and a definite asset to the band.

At its heart this is US-style brutal Death Metal, but they do introduce elements of complexity into the equation that help hold interest and keep you along for the, (brutal), ride.

If you haven’t already met your kill-quota for this month then invite Disfigured Dead to the party and watch those corpses rack up.

Ferocity – The Sovereign (Review)

Hailing from Denmark, Ferocity play Death Metal with style and skill. This is contemporary Death Metal that combines intricacy, brutality, melody and controlled aggression to get its message across.

There are blastbeats aplenty, but also mid-paced and slower sections showing off The Chug and other assorted riffs that make this album instantly familiar but also most welcome. Relatively diverse, (within the Death Metal genre of course), Ferocity display influences from various different sub-genres of Death Metal without ever being confined to just one of them. Here and there you’ll find elements of modern, US, brutal, technical, mid-paced and hyperblast Death Metal all sharing the same album, and even the same song. In my book this can only be a good thing, especially as in the case of Ferocity it works and doesn’t sound just mashed together.

There are some very nice riffs on this release and some good moments in the songs – a welcome grasp of dynamics by the band of when to go melodic, when to go full throttle, when to ease off, when a solo is required, etc. all within a solid Death Metal framework.

Ferocity live up to their name but are not limited to it – there is more than just blind brutality here and that makes The Sovereign a better album. Recommended.

Merciless Terror – Vile Extinction (Review)

Hailing from the UK – Merciless Terror play Thrash-heavy Death Metal and it’s a joy to listen to; they don’t make them like this very often any more!

This album has a real late 90’s/early 00’s feel to it that fills me with a sense of nostalgia; at the same time however this is a modern take on it as the sound and energy is distinctly 2013 and exists purely to demolish the listener with its brawny bludgeoning.

An old-school vibe with a modern production, (reminiscent of Malevolent Creation as a reference point), this absolutely crushes everything in its path. Plenty of speed and brutality, but with a matching grasp of dynamics and the need for songs and hooks; this harks back to an era when brutality was not the be all and end all of this genre.

With many stomping riffs to be had and a general feeling of strength-through-guitar-power everything seems in place to worship the riff, fast or slow. And why not?

Vocals are not standard cookie-monster style, more a shouted-bark. This works well and also has a nice amount of variety, incorporating screams and some almost Black Metal-ish shouting at times.

Do yourself a favour and check out Merciless Terror as soon as you can.

Harm – Cadaver Christi (Review)

Germany’s Harm play old-school Death Metal, with chainsaw guitars and an uncompromising attitude.

There is some excellent, malevolent riffing on this album and the sense of 90’s Death Metal is strong. A time when constant blast and hyper-technicality were not important, and instead you have songs, riffs and brutal Metal. In fact if I had been told that this was a lost gem from the 90’s recorded at Sunlight Studio I could believe it.

Strength and persistence are key attributes to Harm; the old adage about slow and steady winning the race…well not slow perhaps but they certainly know how to settle into a malevolent groove and make the most of it. All of this is wrapped up in a strong sound that lets you hear every instrument individually and lets everything breathe nicely.

This may be an album steeped in Death Metal’s past, but it’s a past I’m quite comfortable visiting, and Harm are the perfect, brutish guides.

Also; the vocalist sounds like he’s trying to kill himself by vomiting up his insides. What more can you say? Nice work!

Colosso – Abrasive Peace (Review)

The music is state-of-the-art bleeding-edge Extreme Metal, but the vocals are pure Death Metal; powerful and going straight for the throat. Colosso combine the best parts of bands like Behemoth and Nile, add a sprinkling of cyber-Metal akin to Fear Factory at their heaviest, and cap it off with focused brutality.

The songs tear themselves out of the speakers with razor sharp claws and venomous fangs ready to slay everyone in sight. This is music not to be messed with. The album boasts a thoroughly modern production and sound, and all of the benefits that 21st century technology can offer. In fact this is a perfectly judged combination of technological and traditional Metal – rather than swamping the metal with bleeps and break-beats to create some hybrid that is neither techno nor Metal, here the cyber-Metal influences serve to merely accentuate the relevant parts of the songs, while the very Metal guitars, drums and vocals take centre stage.

Eight tracks of thundering Metal later and the album is done. Oh, apart from the obligatory throwaway techno-Metal remix track of course, which does somewhat dilute the essence of the main album by being a rather poor closure after the last track proper has faded away. Nonetheless, this is a minor quibble in what is otherwise an exemplary album and a perfect example of what modern Extreme/Death Metal should sound like in 2013.

As a side-note there is also an instrumental version of this album out there named Peaceful Abrasiveness. That should tell you a lot about the quality of the music here and its ability to stand alone. And with the vocals added…well, that just makes it even better.

Eye of Solitude – Canto III (Review)

And it begins – the start of the apocalypse is soft and gentle; slowly building and eventually giving way to a torrent of Doom so monolithic it’s almost overbearing. The sheer oppressiveness of the deep, deep vocals washing away all resistance to the new world that this depressive, bleak, yet wonderful music heralds.

First comes the Doom, and then comes the blast, but Eye of Solitude even manage to infuse blastbeats with a sense of hopelessness and despair. It may not sound like it, but for this kind of music that’s a compliment. 15 minutes in and the first song has finished. The second starts with no intro; it goes from silence to destruction in the space of a heartbeat. The sense of majesty is terrible to behold.

The nature of Eye of Solitude songs is one of a constant oppressive misery, spiked with the occasional uplifting, hopeful moment, only to have this hope removed and crushed without comment. The songs are long, the emotions deep. There is also a sense of frustration at play here; as if there is a railing and thrashing against the inevitable, before final acceptance takes place.

One of the clever aspects of this album is the simultaneous appearance of uniformity and linearity while at the same time having dynamics that are merely disguised by the highly emotive atmosphere that Eye of Solitude foster. This is a masterful stroke as it adds a layer of depth and complexity to the songs that is not always apparent on first listen – the very definition of discovering something new every time.

Based on the strength of their previous releases this is an album that I have been looking forward to, and I am very pleased to say I am not disappointed. Essential.

Warmaster – The End of Humanity (Review)

Warmaster play old-school Death Metal in the style of Bolt Thrower, Obituary and the like. This style comes from an era when playing as fast/technical as you possibly can just wasn’t necessary and this really shows in the songs, as songs is exactly what we get. Unconcerned with these added-on extras to the Death metal repertoire, Warmaster play Death Metal as it originally was intended – with menace and skill.

Vocals are measured, good quality and are in the classic Death Metal vein. The drums hammer a steady beat to the relentless riffing and punishment metered out by the guitars. The odd solo or two also adds a splash of colour to proceedings while not sounding out of place. The songs are generally mid-paced with the occasional faster bit, but there is enough quality and variety of riffing to keep you engaged throughout the album.

Challenging all who hear them not to be carried away in a rapture of calls to war and destruction; I can imagine that these songs would translate extremely well into the live environment. Groove, melody and heaviness combining to make the foot tap, fist clench and head bang. And that’s just in the privacy of your own speakers. The more volume the better! Listening to this album it’s easy to get carried away with it. The End of Humanity is a respectable length at just under 47 minutes long bit it seems shorter than this as it passes by in such an agreeable way that I could, (and did), quite happily start it again from the beginning upon completion.

There’s more to Death Metal than just blasting. Discover the banner of Warmaster and let them lead you to victory.