It’s been quite a while since 2013’s Misanthropy was released, but it made a very good impression on me, so its follow up, The Harrier, is a record I was pleased to see make its way into my hands. Continue reading “Hiss from the Moat – The Harrier (Review)”
Amenthes play Modern Death Metal with a hint of Grind and even Black Metal.
Vocals are various growls with added screams. Duties are shared between the main singer and a guitarist/bassist; they’re ably done and not without personality.
The music is darkly brutal and there’s enough character and passion to the riffs to help Amenthes stand out from the pack.
On this release Classic Death Metal riffing has been combined with more modern chops to create a blend of the old and new. This is added to on occasion by a Grindcore influence that allows the band to let their focused assault slip off and get a bit more frenzied. Some of the riffs have a slight Black Metal flavour to them, lending the band a dark feeling to some of the parts of the songs.
I can hear shades of Cannibal Corpse, Martyr Defiled, Decapitated, All Shall Perish, Job for a Cowboy, Hiss from the Moat and others in their sound. It’s a good mixture that allows the band freedom to do what they want without losing the core brutality that all Death Metal has.
Blast beats and energetic riffs lead the way while the vocals snarl their way through the carnage. I enjoy a good solo and the band have got me covered in this respect too.
I like that there are a few different things going on here, with some nice ideas sharing space with the heavy Death Metal.
This is a very enjoyable release from a band who have real enthusiasm and the songs to match.
After a perfunctory intro we’re straight into the action with Conquering Christianity which is full of solid blasting and evil mayhem. If you think of a band like Goatwhore and have them take their cues from the New-School rather than the Old-School you’ll be in the right ball-park for Hiss From The Moat.
Deep, guttural vocals and higher rasps steer the songs towards their logical conclusions, while well-played, hyperspeed drums anchor everything and allow the guitars to concentrate on the ultra-brutality or blackened rhythms, depending on how the mood takes them. Additional orchestration heightens the atmosphere in select places, and is strategically used for surgical strikes rather than mass slaughter.
Depth and carnage are the watchwords, for the songs stick around long after they have stopped playing, filling you with the urge to experience their nihilistic bludgeoning once more.
The riffs seem to flow like pulsating tar through veins of blackened darkness and spewed out into the unsuspecting light to corrupt and infect everything they touch. The songs offer nothing but hatred and want nothing in return but your demise. Misanthropy in more than just title.
The album is 30 minutes of extremity wrapped in malevolence and served up by a talented group of individuals and guests who know how they like their Extreme Metal, and I heartily agree with their obvious good taste.
Top marks for a top band. More please.