Descend give us 49 minutes of progressive death metal on The Deviant. I picked this to listen to on a whim, based purely on the artwork, (which, in the promo, didn’t have the band logo and album title on it; I prefer the logo-less version), and I’m amazed at what I had the good luck to stumble upon. Continue reading
Nailed to Obscurity play a modernised version of old-school death/doom. Black Frost contains 47 minutes of material that can be roughly characterised as a combination of old Katatonia mixed with elements of Paradise Lost, Insomnium, Opeth, Décembre Noir, and others. The band definitely let their own collective personalities shine through in the music, however. Continue reading
Well, this is quality stuff. From the very start it’s clear that a lot of time, effort, and passion has gone into the creation of this release. Continue reading
I do like it when a band gives free rein to their epic, exploratory side and decides to write a really, really long song. Welcome to Winter’s Gate. This album consists of one track that lasts a full 40 minutes in length.
With a concept that’s based around a short story, the band weave this tale into the fabric of the music, taking the listener on a textured journey into unexplored lands. Continue reading
I enjoyed their début EP, so was looking forward to hearing this new track.
The song starts out fast with a slight Blackened feel to the riffs. Melodic leads soon break out before the track has a mellow moment. I’m reminded of bands like Dark Tranquillity, Insomnium, In Flames, At the Gates, Opeth, etc.
The song is well recorded and the band can clearly play well. The main solo is played like liquid and the musicianship in general is of a high standard.
Vocally we get a mix of deep growls and higher screams, sometimes at the same time. There’s also a guest spot from the singer of Valtari to spice things up.
The song has a good feel to it and does pretty much everything you would want a Melodic Death Metal song to do. The band mix aggression and lighter parts well, and I particularly enjoy the slower end section after the guitar solo, where it initially relaxes before building up in intensity with a mournful lead just under the surface.
This bodes well for a future début album. Bring it on!