Old-School Death Metal – Page 47

Decomposed – Devouring (Review)

Decomposed are a Swedish Death Metal band.

Devouring is rooted in the Old-School and the band have a fair grasp of what makes a compelling record from back then.

Reminiscent of many from that era in Swedish Death Metal history, (Dismember, Grave, Unleashed, etc.); they pile them all into a pot, boil them alive and use the remains to create an enjoyable album of putrid riffing and foetid tones.

Decomposed take a methodical approach to their slaughter; slicing through flesh and hacking off limbs with efficiency and glee. They do take the time to smell the corpses however, as evidenced by the slower and more introspective parts of the songs.

The guitars roll and heave, while the drums smack down hard and the vocalist roars with all of his might. A passion for Death Metal is clear from the start and combined with a good ear for songwriting it makes Devouring a solid listen.

The more I listen to this the more I enjoy it. Get yourself a healthy blast of Old-School Swedish assault and listen to Decomposed.

Morfin – Inoculation (Review)

Morfin are from the US and play straight-up classic Death Metal.

We get 10 tracks, including a Death cover; which should give you a good idea of where Morfin’s loyalties lie in the Death Metal hierarchy. In fact if you like Death, (and who doesn’t?), then you should like this also.

From the album cover to the album production this screams Old-School at the top of its diseased lungs and then falls to the floor to devour a fresh corpse once it has done so.

Somehow Morfin appear to have captured and bottled early Death Metal and are swigging liberally from it regularly. Rather than sounding derivative, tired and old though it somehow has a rejuvenating effect and this sounds as fresh as it did back in the day. Morfin may have a bit of Death hero-worship going on but when they have the formula this right who cares?

Importantly it’s not just the feel and style of the album that they have the secret ingredient for, but they also have the songs to back it all up. The tracks rumble away one after another and before you know it all 45 minutes have expired and you’re sitting there with a rictus grin on your face wondering where you got the blood on your hands from.

So join me now; shout it loud and proud – MORFIN!!!

Megascavenger – At the Plateaus of Leng (Review)

The latest Megascavenger album, (a project of Rogga Johansson), contains quite the list of guest vocalists – just have a look at the line up, (taken from the promo blurb) –

1. At The Plateaus Of Leng (Vocals by DAVE INGRAM of Bolt Thrower/Benediction)

2. The Festered Earth (Vocals by KAM LEE of Massacre)

3. And Then The Death Sets In (Vocals by AAD KLOOSTERWAARD of Sinister)

4. The Mucus Man (Vocals by MARTIN VAN DRUNEN of Asphyx/Hail of Bullets)

5. Like Comets Burn The Ether (Vocals by DAVE ROTTEN of Avulsed)

6. When Death Kills The Silence (Vocals by FELIX STASS of Crematory)

7. The Hand Of Bereavment (Vocals by ILKKA JARVENPÄÄ of National Napalm Syndicate)

8. Back To The Ancient (Vocals by BRYNJAR HELGETUN of Crypticus)

9. Night Of The Grand Obscenity (Vocals by ROGGA JOHANSSON)

If that’s not enough to get expectations running high I don’t know what is.

This album is full of melodic Old-School Death Metal goodness, but also a few unexpected turns such as the clean vocals/keyboard side of The Festered Earth, or the cleans of The Hand of Bereavement. Variety is a good thing however and these little flourishes and touches just enhance the album as a whole.

At the Plateaus of Leng is crushing and without mercy, stomping and stamping on all who oppose. But more than brutality these songs are surprisingly melodic and succeed well in hooking the listener. The tracks march along easily enough, propelled by the mid-paced barrage of the drums and carried aloft by the tuneful guitars. Each song is well-written, being identifiable from the last and not just because of the different vocals. This is an album of songs rather than just a collection of tracks, and there are catchy moments in great supply.

All of the vocalists do a sterling job and add their own personality and character into each of the compositions. Each song may have a different vocalist but the album flows nicely and doesn’t sound disjointed or like a compilation album, even when they veer into more Heavy Metal territory with clean singing it still holds together well as a package.

A very accomplished release, chock full of classic Death Metal songs, each one as enjoyable as the last.

Brutally Deceased – Dead Lovers’ Guide (Review)

From the Czech Republic Brutally Deceased play Old-School Death Metal in the Swedish style.

Instantly bringing to mind acts such as Dismember and Grave, as well as the fact that the last song on the album is a Dismember cover and they’re named after a Grave song; you’ll soon realise that this band like their Swedish Death Metal. A lot. Added to the fact that the album has that Swedish sound and you’ll soon be unpacking that old chainsaw and setting it to work once more.

Like rediscovering a lost friend, the album explodes out of the speakers with the chainsaw buzz-riffs sawing away at your ears while the short, sharp vocals bite deep into your flesh.

This may not be highly original, but what it lacks in originality it makes up for in passion and enthusiasm. If you’re looking for the very latest in new things then look away as this is not for you, but if you like a solid slab of hero-worship and can’t get enough of classic Swedish Death Metal then you should definitely check this out. The fact that the band don’t actually come from Sweden is irrelevant.

A highly enjoyable trek down memory lane. Taken by itself this is a strong Old-School Death Metal album. The guitars roar, the drums pound and the vocals damage. They’ve succeeded in getting me moving; check them out and see if they can do the same for you.

Trenchrot – Necronomic Warfare (Review)

Straight off this is easily identifiable as Old-School Death Metal from these US bruisers. All of the trademark signatures are in place – fans of Obituary, Bolt Thrower and more modern war-themed bands like Hail of Bullets should feel right at home here.

This is mainly, (but not always), mid-paced and takes no prisoners. The feeling of an endless battlefield covered in the corpses of countless forgotten enemies pervades this release, as does the feeling of belonging to an earlier age of Metal. This is Old-School to the core with an even Older-School album cover.

This kind of retro-Death Metal can sound stale if handled incorrectly, but Trenchrot know their weapons and pick only the best and most destructive from the armoury. Clearly passionate about what they do, I can’t help but get swept along with the Death Metal mayhem contained within Necronomic Warfare – the heavy, thick tone of the guitars; the agonised, hoarse, barkings of the singer as he rallies the troops for another offensive; the firm pounding of the drums that lead the willing to war; the wailing, emphatic solos that inspire and rouse. It’s all very stirring.

A thoroughly enjoyable release perfect for charging headstrong into the melee. A snapshot of a time when being Death Metal was enough, and no add-ons or exaggerations to the sound were needed.

As the band say themselves –

“TrenchRot make music within the stricture of two rules:
1. Play Death Metal
2. Crush posers”

Couldn’t have said it better myself.

Derogatory – Above All Else (Review)

An unexpectedly melodic intro sets the scene for the start of this USDM album by Derogatory. Once this is over it’s straight into the blasting, although this soon tapers off and reveals a band that are capable of varying their speed rather than always going for the most brutal option of smothering everything in blastbeats.

This album is full of Old-School Death Metal in the 90’s US style, and as such you can hear the influence of bands such as Deicide and Morbid Angel being channelled into Above All Else.

Double bass, solos, thick guitars and deep growls pepper this release in all the right places, and the songs are simple-but-effective and provide that Death Metal fix that obsessive fans of the genre crave on a daily basis.

The sound of the album is the main weak spot – it’s perfectly workman-like, but I feel the songs could be allowed to breathe better with a more coherent production. It doesn’t sound bad but it could sound better. Ultimately this doesn’t detract from the songs too much and is more of a “note for next time”.

At 9 tracks and 39 minutes, this is a pleasant romp through 90’s Death Metal that will more than satisfy fans of this genre.

Slaughterday – Nightmare Vortex (Review)

Slaughterday hail from Germany and play Death Metal. The Old-School is strong with this one! I also love the album cover. I’m a sucker for this kind of otherworldly-landscape type stuff.

The first song Unearthly Evocation sets the scene with a no-fills entrance and some solid riffing. The Old-School Death Metal vibe is apparent throughout, as well as some good Slayer-esque guitar parts that sound quite creepy.

The second song Nightmare Vortex, and the rest of the album, continue this trend. There are some well constructed solos and leads on this release, as well as some considered songwriting. Slaughterday are arguably at their best when going slower; the start of Cult of the Dreaming Dead is a great example of this – twisting, turning riffing building up and crashing down again until the faster section and growls kick in.

Even the vocals have an Old-School feeling – classic Death Metal-deep, without going over the top; you can still make out some of the words.

My favourite track is probably Addicted to the Grave. A nice slow burner with a catchy chorus.

If you have a taste for Old-School Death Metal played well then you could do a lot worse than Slaughterday. This is Metal, played well and enjoyable. I’m sold.

Master – The Witchhunt (Review)

Having a legacy spanning the better part of 30 years Master need no introduction. It’s heartening to see that after all this time they are still releasing records of a high calibre and keeping up with their peers and the new breed.

Tight playing, good songwriting, top-quality recording – all of the things you would expect from this release – all accounted for.

And of course the vocals; Paul Speckmann’s distinctive growls are accounted for also. A kind of sliding, slithering, snarling sound. Quite distinctive, especially in an age where generic-cookie-monster vocals are ubiquitous. In a way this is Master’s USP and can be make-or-break for some people. Love or loathe; it’s readily identifiable and adds a unique edge to the band that so many others lack.

This is old-school Death Metal played with conviction and skill, with no regard whatsoever for what is going on in the wider Death Metal scene. And why should it? As one of the originals Master can pretty much do what they like. Thankfully, rather than sully their legacy by changing styles, experimenting, or any other number of potentially dangerous things; they have chosen to release another album chock to the brim with blasts, riffs, and honest-to-goodness Pure Death Metal.

Listen to Master – what’s not to like?