At The Gates "To Drink From The Night Itself" (2018)

It doesn't feel right to start here. I have barely given the Swedish group a listen in the past, Ive heard the praise, recognize their album covers and am very much aware of their legacy within the broader Metal community. After a string of well regarded albums in the early nineties At The Gates split in 97 for over a decade long, returning with the original lineup many years later in this era of sustainability for bands given the increased wealth in music and large amount of festivals to support and give exposure to bands, especially old bands die-hards want to see again.

To Drink From The Night Itself is the bands second album after their reunion and the first proper listen Ive given then. Unfortunately it falls into the "generic" Melodic Death Metal camp but of the vein I can very much enjoy. That is only because I know this sound all to well, they may have once been at the forefront of this style but their is little fresh or new on this record, it is however very well written and strongly executed, making for a healthy dose of a sound and style I really enjoy.

The band put together songs without flash or flair, their consistent pounding pace and temperate approach to guitar riffing lets the mood and tone of the tracks eminate from steady and composed melodies hidden in the exterior of harsh distortion guitars. When they do break in tone an introduce acoustics its rather underwhelming in the wake of their steady Metal machine that drives ever forward at this consistent speed that feels simultaneously sluggish and hastened as the drums never swing into break downs or blast beats.

The production aids the music well, the instruments feel rounded and cushioned to share a space without piercing through one another and this is again reflected in temperate music that lets its self speak without aesthetic tricks. Vocalist Lindberg's dry screams play up the atmosphere of this drone as his flat and drawn screams brood in the dreary aggression that is only and rarely split by the timely introduction of simple and gleaming guitar solos, bursting to life but fitting sweetly into the direction.

It may be in the title but this is truly a recollection of the night time, the steadily aggressive and evolving guitars unleash darkly moods and tones that the music frequently unravels as its guitars wind and weave their way forward with melodic inflections between the grinding of subtle grooves and darkly tunefulness. Its a solid listen from front to back, a bold and consistent approach that has the record swiftly establish its realm and hold you there for the forty five minutes. Great record, I may have to go back and get through their classics now.

Favorite Tracks: Daggers Of Black Haze, In Nameless Sleep, The Colours Of The Beast

Rating: 7/10

Job For A Cowboy "Doom" (2005)

As the years pass by my memories of the Deathcore scene's days grow fonder. My recent addiction to Job For A Cowboy's classic Entombment Of A Machine has reminded me of just how much fun we had when the scene blew up. We got to watch all the new bands fly in from the states and it was wondeful. Although my introduction to the music was through Bring Me The Horizon (IIRC), this EP from the American group was where it all started, spawning many imitation bands in the wake of its unusual popularity and new style. Make no mistake, Entombment is an ugly song! Harsh and abrasive, its shrill pig squeals would challenge fans of guttural vocals yet somehow this Extreme Metal song spread like wildfire through the Myspace music scene, it would give them the exposure to land their debut album Genesis in a billboard chart two years later.

Its probably been a decade since I last listened to Doom in its twenty seven minute entirety. I believe the copy I own now has an extra track I had not heard before, which was a pleasant surprise as I remember all the other tracks like a day had not passed. The bonus song Entities leans more so in the direction of a fundamental Death Metal song towards its end, sharper blast beats, tighter riffing, a flashy guitar solo and only one pig squeal? Its a subtle indication of their next direction as a band, to rid themselves of the Hardcore influence and go strictly Death Metal on their full length debut album.

 The other five songs, minus the cinematic intro, are a riot of violence, a vile thrashing of dense guitars as snarling screams and guttural roars are all channeled into abstracted moments of groove that underpin the musics harsh, unforgiving aesthetic. The songs often drifts through brief passageways of ugly, bitter chaotic sounds in the wake of pinch harmonics and loose, rattling blast beats. These moments are swiftly transformed as the record's tracks all revolve around a philosophy of continual evolution. The ugliest moments are quickly transformed and transcended as gear shifts chop up the pace and allow slamming grooves to erupt, as the classic Entombment does so well.

The vocals are a big point of contention that could easily turn a listener off, the pig squeals are blunt and piercing. They jump into the music with little more than rhythmic sequencing as "bree bree" and "squee squee" clearly offers no lyrical content. I personally find it hilarious, between the swings of gritty shredding and slamming grooves the eruption of unwieldy squeals is an amusing testament to the nature of the music itself, a joke. That's not an insult but a means to say the music is clearly aware of its own deliberate abrasion and boisterous persona.

Everything must be taken with a pinch of salt, the ugly, challenging aesthetic is manipulated to extract the groove and excitement in music from the most devious of places. That is what is genius about extreme music and here Job For A Cowboy brandish a new fusion of ideas that would go on to spawn a whole new wave of Extreme Metal that would upset the old guard and stir controversy within the community that at the end of the day is a waste to even care about. Enjoy music if you can but don't spend your energy on hating it. Doom is fun, a really exhilarating listen full of obnoxious extremity.

Favorite Track: Entombment Of A Machine

Rating: 7/10

The Absence "A Gift For The Obsessed" (2018)

Bridging an eight year gap between records, The Absence release their forth effort, a blazing onslaught of Melodic Death Metal that sounds like a day hasn't passed in their absence... please excuse the pun. Although they hail from Tampa Florida, the group have strong influences from the European scene and their sophomore record, Riders Of The Plague, I would consider a classic record within the genre however they have never received much exposure and so remain relatively unknown. If your a fan of Carcass or Arch Enemy then their music will feel very much at home.

A Gift For The Obsessed doesn't alter formula and goes with what works, making for an unsurprising roll of songs that hurtle intricate riffs inflected with melodies and unleash fiery guitar solos that blaze and scale the way forward. Its fast, energetic and thrashy, a high octane beast pummeling its way through its arsenal of techniques. Its put together in a competent production that lets all the instruments gel as lead singer Stewart roars and growls with his meaty guttural screams, crying out over the top of the instrumentals.

The record plays through without a hitch, if their sound is your cup of tea then you can enjoy the blistering, beastly Metal. It would of been nice to hear a little diversity or experimentation but these guys have got it down to a science. There is one surprise however, a cover of Suicidal Tendencies classic You Can't Bring Me Down. The song sounds fantastic with a Death Metal flair and reinvigorates enthusiasm for a song you may have heard to death already. Really nice cover to throw in the mix however it doesn't do much to make this record feel like anything other than a band sticking to their guns.

Rating: 6/10

Pestilence "Hadeon" (2018)

Dutch Death Metal outfit Pestilence are a group I'm not all to familiar with. Forming in the mid-eighties they were certainly around at the very start of the scene and I believe they made a name for themselves by diversifying into Technical Death Metal in the nineties, getting a little Progressive and incorporating synthesizers. The electronic sounds are the main takeaway I remember from listening to their early records eons ago. They disbanded in the mid-nineties and reformed in 2008, after another hiatus the group are back with Hadeon, the groups eight full length album.

Firstly you might describe the record as Technical Death Metal, however that term is firmly rooted in the genres origin, akin to bands like Atheist and a far stretch from the dexterity and audacity of modern groups like Beyond Creation. Even the records production aesthetics captures the old spirit, relatively muddy, rounded and its brutality cushioned, its far from being a crisp, clear, cutting edge tonal experience and I really enjoyed that. It fits the music well but most of all "singer" Mameli's guttural groans and aches are a frozen in time slice of how they were performed back in the day.

The record cruises by with an a relatively temperate aggression. Fast rattling blast beats, bursts of dizzying fretwork and bloated groans play up to a brutality that feels out paced by other bands and so it hangs in a curious place where its best lived passages of music flow from the lead guitar solo's and anything that breaks up the monotony of the old style. Astral Projection does this with a rather strange break into eerie, unsettling synths as a robotic voice talks in mechanical rhythm over the music. Its less than a minute but makes the albums most remarkable, odd and fun moment.

That it is the most remarkable moment highlights this records problem, there's not enough spice or flavor about it. It sticks very rigidly to principles decades old and in its defense it executes these ideas really well. Its bread and butter old school technical death! The album sounds great, the music is cohesive but offers precisely nothing unheard of before, with exception to its robotic visitor. The end result just isn't particularly enthralling to me given Ive heard this all before.

Favorite Tracks: Astral Projection, Discarnate Entity

Rating: 5/10

Cannibal Corpse "Red Before Black" (2017)

You shouldn't think of this as a musical "review" of sorts, this blog is about the musical journey, exploration, discovery and how my relation with Death Metal's most infamous band most is surely exhausted. Approaching thirty years as a band they have offered up classics, stinkers and a fair amount of variety but they and both the genre seem to be stagnating from an evolutionary perspective. Stylistically its the same formula, approach and brutal mindset repeated year after year, failing to make it feel exciting or adventurous anymore. Given my disappointment with "A Skeletal Domain" I was going to pass this one by, that wouldn't of been a bad idea.

I first put the record on during a very adrenaline fueled mood. The bludgeoning pelt of the drums racing along, the thunderous menacing roar of visceral shouts howling at their victims and the blistering, razor sharp distortion guitars shredding carnal madness had me head banging like a loon. To good to be true? Mood can always effect an experience but it only took four or five tracks for the intensity to die down as it became monotony. My absence to this sound gave me a rush of excitement but once that settled and the record drew on, the business as usual reality came to be so.

Red Before Black edges forward again with a slightly more intense sound than its predecessor. Everything a little tighter, more intense and kudos to Corpsegrinder for somehow maintaining that inhuman roar through the years. The music is technically cutting, littering the album with all manor of intricate riffs and challenging music but its all packaged within that same Cannibal Corpse intensity they refuse to let up from. Tempo changes and slightly "expansive" twists are always chained down by the identity they have stuck by relentlessly. Whenever a moment comes that it might sound like the song could open up, or go down a new avenue its always pulled back to that blast beat led pummeling that has become utterly boring for me.

I'm glad I enjoyed it for a brief moment but past that first listen its been nothing but a slug of unexciting brutality that feels so pointless in the bands decision not to challenge themselves or move on from what they perfected years ago. Even though I love this sort of music, there is only room for so much before it becomes hard to get into anymore. I wasn't expecting them to move forward and I got exactly that, the only positive I can give them is the production, probably their best aesthetic to date.

Rating: 2/10

Septic Flesh "Codex Omega" (2017)

Greek veterans Septic Flesh have been at it since the early nineties and "Code Omega" is their tenth full length release and what a fine record it is! Being relatively unfamiliar with the band I don't know a lot about them bar an obscure EP I happen to really like. They play atmospheric and symphonic Death Metal with touches of other extreme sounds identifiable in the constructs of their sound. The symphonic elements of this record are exceptionally fleshed out, mind the pun. It borders on orchestral as the rich tapestry of music compliments the already high fidelity Metal production.

The band generally arrange the strings and symphonies around the rhythm of thunderous drums that pound tribal grooves in tandem with the monstrous thickness of the distortion guitars. When they are stripped back the orchestration arises to fill the gap and in turn dials it down when the guitars take lead. This rather mechanical sounding approach works ever so well as the melodies, grooves composed compliment each other well and work towards the same overall theme and sense of atmosphere, allowing them to be inherently different and playing to the strengths of whats needed in the progression of the songs.

The majority of these songs unfold like epic battles, the sirens of war call out alongside the crushing onslaught of chugging guitars and battering blast beats. Singer Antoniou roars his deep growling guttural words like a battle cry. Climatic break outs and shifts in direction create a true sense of direction as they spark the imagination to what events are unfolding in this cinematic experience. Its not all brutality and bludgeoning, bursts of light creep in as breaks to melodic lead sections are graced by the capable and authentic clean vocals of guitarist Vayenas.

There is little to falter, fantastic, sublime production brings crisp and bright instruments together in an extreme setting. My only complaint would be the occasional lack of charm, "Faceless Queen" chugs out a monotone syncopated groove with an incessant jolting of strings. It makes its point, creating a state of immanent fear and danger but does so with blunt force and a few other moments like this felt like the craft slipped for a moment. Otherwise its a sturdy collection of songs with the acoustic guitar lead "Trinity" closing the album on a throwback to the "Eldest Cosmonaut" EP I am fond of. This is probably because its the only other record of theirs I know!

Favorite Tracks: Martyr, Enemy Of Truth, The Gospels Of Fear, Trinity

Rating: 7/10

Decapitated "Anticult" (2017)

Its been a decade since drummer Witold Kieltyka tragically died at the young age of 23. he formed the Polish band with his brother at only twelve years old! Witold was prodigy to say the least, hammering down fast and brutal drum patterns as a teen. Decapitated stood out as a young band with a promising future however in this day they sound like a shell of their former selves. With only founding member Vogg left on guitar's they have stripped back the brutality and transformed into a rather common sounding Melodic Death Metal outfit, at least rhythmically as there isn't to much of a focus on melody here. That's not to say the musics bad, just that what once set them apart from other bands is a distant memory on this record.

Anticult starts out as a warmer, inviting record with some gleaming guitar leads and progressive riff constructs arranged between the high octane Death guitar grinding. With Thrash overtones and shades of Groove the band put on a more palatable, appealing show in the beginning stages. As the record draws on deafening blast beats leaner riffage start to take hold and on a couple of tracks with the relentless double pedal rattle echos their old identity. It starts out warm and steadily leads us into dark territory as the mid section delivers a few moments of grinding brutality and aesthetic onslaught.

As the record draws on more melodies and mosh friendly riffs emerge, bringing about those festival music vibes, the sort of Metal fit for the open air. Its that kind of appeasing record, it may be full of blast beats and tonally dense instruments but its squeaky clean production eliminates the visceral aspect, making the slick snares and sharp, crisp guitar tones an aesthetic treat. Its all set to make a great record but not many of the songs stuck with me. An enjoyable listen but a lack of meat and spark in the song writing to really turn a technically decent record into anything of merit to my ears.

Rating: 5/10

Tombs "The Grand Annihilation" (2017)

To write this post I had to remind myself why I was following this band. I think my interest In this sort of Metal is slowly wavering but after an initial disappointment, a more few spins gave me a clearer image as the music came to my mind. I was quite impressed by the Brooklyn bands 2014 release Savage Gold, listening to it again reminded me that Tombs are a very temperate, measured band that seek atmosphere in the pacing and patience of their music, a Post-Black Metal venture with shades of Death Metal casting a spell of unforgiving doom without any cheep thrills.

At forty eight minutes its quite the grind, a bleak, monotonous grind of unearthly rumblings in the mist. Tremolo shredded notes pluck and propel us forth into the baron wastelands as icy lead guitar licks breath some life into the desolate setting. Intensified by bursts of blast beats and interchanging dissonant chords, the occasional Thrash Metal intersection makes itself known as the songs cruise through a construction of riffs that sway the tone and direction with craft and intention. These songs are well constructed, without straying to the grandiose or loosing its sense of burden, Tombs hold together a consistently heavy, gloomy tone that creeps in subtle climactic moments with guitar shifts leading to sorrowful yet elegant solos. The deep bellowing vocals of Mike Hill adds to the damning atmosphere, there dominance over shrill screams much more preferable and fitting.

There's a lot to praise on this record, its obvious these are talented musicians with a good ear for song structure. The production is sturdy, crisp and clear instruments with enough mud in the tones to bring about the bleak atmosphere the band conjure. There is little to fault but my enjoyment is saturated. When its playing it makes for good company but in its absence it barely crosses my mind. As I said before I think its just my taste in this style that is fading. Nothing wows or feels unheard, unexpected, its all become a bit of a routine journey into a familiar shade of darkness.

Rating: 5/10

The Gathering "Always.." (1992)

"Always..." may not be so, against the grain of our half life this record will be one of the first to fade from memory. Its no classic, far from it, nor the sort of record you'll hear anyone talking of again. For me? Its a personal gem, a diamond for my eyes only, an album to adore every second of. Its the Dutch bands debut record released two years before their landmark "Mandylion". At this time they had a different vocalist, Bart Sims, who growls and groans in a very typically tonal, textured and slow guttural Doom Metal way. At their inception the band were very much in this category however they stand apart from other Doom acts with a layer of synth that's inspired, melodic but always a touch cheesy with its cheap and rigid tones. Mostly though, they charm and bring a mysterious atmosphere, vibrancy and a nostalgic character to the record.

The records production is dingy, dusty and moody. Its got just the right amount of meat and punch to have an impact as the instruments get themselves across with volume in a rather low fidelity affair, much of this is thanks to the synths which fill the spaces the low, brooding distortion guitars leave in their wake. The drums have volume that comes with a bit of clatter, the snare and bass kick punch through but the cymbals are a little dizzy, the toms thin and weak, sounding pale in comparison. Bart's vocals are dominant, strong, ample. Alongside him Marike Groot puts in a stunning performance as an effeminate compliment, often singing notes to chime with the synths but then whisked into the spot light to show her sublime range that soars with a wild streak.

The true champion here is songwriting, the aesthetics are an acquired taste one could get used too but so frequently does the magic come from the progressive shifts in song direction. The mood and tone is set, the song is in its cycle and a few instruments break away from the mold to then unleash a transition and the atmosphere is transformed, we are elevated to a new plateau. These songs also drop back into their routine brilliantly. Not a note of this record feels out of place or any musical avenue forced, its a sombre, Gothic melancholy without the romanticism. Some of its best moments come as more instruments get involved. The bass is very active with a bustling tone and attitude that has it scaling the fret board to accent the guitars and cue musical shifts. In these shifts and breakaways short lead guitars or solos often drop in with a knack for being within the moment and climaxing with licks that drop right into the chemistry, not taking a spotlight but sounding akin to all that's going on around them, flowing like a river with the music.

I know this record like the back of my hand, I discovered it at a time when I was getting into the next wave of brutal music, so it never seemed all that heavy to me. Now its become apparent that the dense meaty guitars, Bart's slugging growls and the crunching drums were probably rather dark for the time however the melodic synths and appropriated use of reverberated acoustics play that down. As well as drawn out, doomish power chords the guitars have moments of heavy, head banging chugging with a touch of Groove which was growing prominent at the time.

If the record has a weak spot, perhaps the interlude track "Always..." is a touch weak in comparison, the soft synths and synthetic toms over crashing waves feels a little thin without the full band. My favorite song "In Sickness And Health" gets a nod for pitting a somewhat Death Metal riff against  a swirly synthesizer effect that sweep phases back and forth for a truly magical, astral moment. Its been a year or two since I last enjoyed this personal favorite and I'm happy to share this with anyone who cares, however Id totally understand if someone didn't see eye to eye with me on this old gloomy record.

Favorite Songs: In Sickness And Health, King For A Day, Second Sunrise, Steongarden

Rating: 10/10

Nightrage "The Venomous" (2017)

Its been over a decade since I last checked in with the Greek Melodic Death Metal group Nightrage. I don't remember much of them, other than their breed of melodeath being rather rough around the edges. "The Venomous" is a step apart from where I last joined them as the band treat themselves to a lavish, tightly polished production that is as crisp as it gets for this genre of music.

Walking in the shadows of bands like Carcass, Arch Enemy and In Flames, the band do little to set themselves apart from the tropes of the melodeath genre. Its as predictable an experience you could expect, every riff, scream, and drum beat fits neatly into the formula. That's not to bash on the band but when a sound is where it was ten years ago it can hardly be exciting for a seasoned listener.

The reality is Nightrage are a very competent band, clearly talented, technical and inspired the album is littered with tightly wound riffs chugging away on integral grooves and between them wave after wave of bright colorful leads and vibrant guitar solos. Song structures keep things oozing but it lacks the power to surprise. Not a single moment or riff felt unexpected, wild or out of the mold and so often it drifted to the back of my mind. Even so It was still an enjoyable record with little to complain about but for such a unoriginal piece of music it hardly made an impression on me. If you know Melodic Death Metal, you know this record already.

Rating: 4/10

Napalm Death "The Code Is Red...Long Live The Code" (2005)

It not the first time we've talked the legendary Napalm Death and it wont be the last! Hoping around through their discography we arrive at the bands eleventh full length and the first of three successive records that have received significant critical praise. Somehow the band continuously reinvent their frenetic, invigorating sound over and over and without loosing the intensity or excitement these octane riff fests bring. "The Code" is a moment where their sound comes full circle, feeling closer to their original Grindcore chaos without the tropes of Groove and Death Metal becoming a stylistic determinant in the wake of guitar led violence.

Riff eccentric and structured as such the album rolls through the motions in a constant state of alert as riff after riff perpetuates a dizzying unleashing of ferocious anger directed at the path of the listener. Its on a war path and your standing in the way, the drums bearing down around the rhythm guitar with a consistent battering on the snare and blast beats thunder between high tempo grooves. There is little break from this formula, a very occasional tempo slowing and winding down of the thrashing lets you come to the surface for the occasional gasp of air.

Vocalist Barney is right on the mark with the voice of fury and frustration, leading the charge with savage barks, shouts and growls. On the records opener he utilizes a memorable bellowing ewww scream that gets me every time, wish he'd pulled that card a few more time as it has a true distinction to it. A couple of guest vocals add some spice, Jello Biaffra of Dead Kennedys and Lard makes a decorative feature but its Barney who takes the work load.

The records mix and tone is fantastic, getting an apatite amount of clarity from each of the instruments, finding the right spaces for them to collide, keeping the overwhelming wall of sound in just the right measure for it to retain its edge. Like most Napalm records it comes down to another riff fest of sliding power chords and evil tremolo picking. In this case all the stars align for perhaps their most consistent if not a personal favorite. The closer "Morale" showcases the bands musical talent with a slower, atmospheric track and Barney's archaic chanting leaves one wondering why they don't do more of this, they can certainly pull of more than the deathgrind they have become masters of.

Favorite Tracks: Silence Is Deafening, The Code Is Red... Long Live The Code, The Great And The Good, Pledge Yourself To You, Losers, Morale

Rating: 8/10

Repulsion "Horrified" (1986)

Ive been meaning to get around to Michigan based Repulsion's debut and only record for the longest time. When researching Grindcore and Goregrind I often come across "Horrified", cited as a classic record in the genre's early days which despite being recorded in 86 wasn't actually released for another three years. Taking oneself back to that year, Metallica's Definitive "Master Of Puppets" had come out and the first few Death Metal tapes were circulating the states. Napalm Death has started to beef up their sound with blast beats during line up changes and the birth of a new sound was upon us. Although it wouldn't of assaulted ears for a few more years to come, Its quite possibly the "heaviest" record you could find of the time. That's why I had to check it out sooner or later.

Despite being an "old" record its abrasive demeanor took me a few listens to adjust. The hideously ear piercing ride cymbal making its mark on a loose and chaotic aesthetic where low, dingy guitars grind away at linear, one dimensional riffs with temperate grooves as the drums come crashing down around them with mosh steady beats. Vocalist Scott Carlson's screams are not much of a charm. Its a rougher, harsher form of Thrash Metal scream that has the fast and frantic delivery of Grindcore lyrics but yet to evolve into the deep growl so many other bands would take up. The base guitar most likely a mirror of the guitars but sounds somewhat non existent in a mix that constantly peaks the mid to mid-upper ranges.

In there moments, the blast beats crash in with full intensity, the ride cymbal smothering the tone, overloading the accompanying guitar riffs. The band have the measure to break it up with slower tempos, punk and thrash sections that turn the dial from eleven to ten. The riffs are simplistic, easy to follow and employ some techniques and styles that would become commonplace, the grinding of low strings and using snaky note progressions. On the lead guitar front Thrash like solos seem to crash into the mix at regular intervals with a fast and frenetic unleashing of notes that spiral around the listener before dropping out as quick as they came in.

At thirty minutes its a great length where a rather abrasive collection of short, frontal songs don't take themselves to seriously and outstay their welcome. Initially I was impressed by its age but dubious I would really enjoy this record given the length of stylistic evolution that laid in front of it. A few listens warmed me up to the sound but it was hard to make more than a retrospective impact. It was however worth my time, a coy enjoyment and an interesting piece of music poised slightly ahead of its time despite the delay in being released to the rest of the scene.

Rating: 5/10

Napalm Death "Fear, Emptiness, Despair" (1994)

Birmingham's Grindcore legends Napalm Death have an extensive discography of seventeen full length records and that makes for quite the interesting experience. When cherry picking what too visit next this release caught my attention as the first to incorporate elements of Groove Metal into the bands sound. Consisting of the "classic" lineup established on the previous record, "Fear, Emptiness, Despair" captures the chemistry and elements I like most about the band in its infancy.

The result is a harrowing, dark and gloomy atmosphere where the Death Metal tone still lingers as the grooves are yet to be emphasized and at the forefront of attention. The guitar tones are maroon, dense and thrashy, poised for both bludgeoning and bouncy riffs. Barneys guttural shouts get the best out of this style of screaming, not to rough to distort his words but carrying plenty of weight and menace about them. His performance has a tempered variety as the occasional break from the norm makes great use of echoing reverbs, shrill screams and distorted spoken word to spice up an otherwise limited style.

The records tempo has its flairs on tracks like "Remain Nameless" but mostly its a slower, mid-tempo setup where brutality is conveyed through atmosphere and tone, rather than needless blast beats and fast playing. The drumming has its hand to play with beats to compliment the riffs rather than hammering down hard to create intensity. The song structures are seemingly creative however the consistency of records tone masks a fair bit of its creativity when it comes to such things.

In its darkness, a morbid atmosphere of lifelessness and depravity, the record unfortunately plays down its own brilliance. Its loaded with creativity but much of it feels subdued as the energy of the guitars is set back by its dense tone and many fantastic riffs sound a little muddy when the drum are blasting. Drum patterns too do lots of interesting things rather than conform to simplistic beats. Its mood and tone does give the record a consistency that's enjoyable and that would be the word, enjoyable. Its a great listen but tweaks and changes could of unleashed a more frontal beast.

Rating: 7/10

Favorite Tracks: Twist The Knife, Hung, State Of Mind, Armageddon X7

Nails "Unsilent Death" (2010)

Pushing the Grindcore sound to its groovy extremes, Nails are an American underground band from California who Ive been noticing over the years have built a bit of a cult reputation. Ive sighted them frequently mentioned as one of Metal's most extreme sounds. To my ears they have re-invented the wheel, taking the core Punk and Metal values of Grindcore and reinvigorating the attitude with a dense claustrophobic wall of sound production that will have you foaming at the mouth in the wake of its aesthetic intensity. Formed in 07, "Unsilent Death" is the bands debut "full length" clocking in at just under fourteen minutes across its ten songs.

And so the album opens like a flood of water bursting through the seems. Our ear drums are pelted with a ruthless pummeling blast beat, furious throaty screams of anger and strangulating guitars that smother and creep into every each of sound with their monstrously dense distortion tones. Its disorienting, fast and nauseous but as the smoke settles and one adjusts a quite simplistic set of grooving riffs emerge as the musical backbone. With hints of Thrash, Punk, Hardcore and Groove Metal the riffs alternate between different intensities and in their short life cycles they steer clear of wearing themselves out. It plays like one big song that's forever shifting gears as the burdening aesthetic intensifies all that's on display.

The records most interesting moment comes on the title track as screeching guitar feedback sounds intimidate over the top of a gorgeously low and textural bass guitar that groans in its over driven tone. It leads into an effective but primitive breakdown that has notable influences from the Deathcore scene and trends of the time. Beyond that its business as usual, with nothing out of the ordinary. Nails's strength is in the aesthetic which is certainly something to marvel, behind it a rather atypical set of riffs that don't defy expectation. They are like Napalm Death on crack, so much so hearing some of their records with this aesthetic would be an interesting treat. The bands overwhelming sound intensifies what might not be as impressive in a regular setting, either way its a fun listen to get you fired up for some carnage and hand banging which ends with a monstrous riff in the closing moments of "Depths".

Favorite Tracks: Unsilent Death, Depths

Rating: 6/10

Atheist "Piece Of Time" (1989)

After reconnecting with this band of old I picked out their debut record to listen to next. Released in 89 it stands firmly with an "ahead of its time" label, although the album itself was recorded almost a year earlier in late 88. Fascinating stuff however this record doesn't translate to enjoyment at quite the same ferocity as its follow up "Unquestionable Presence" does. Putting a finger on why has been tough, it makes me ponder the impressions that other works can leave on records that are new to you. These records in one sense are two of the same breed however perhaps a seasoned maturity and flirtation with non metallic styles gives its predecessor an edge. Even then we are splitting hairs, "Piece Of Time" is a brilliant Death/Thrash Metal record, one well ahead of the crowd and worthy of praise.

Many of the remarks I could make about this one are similar to the article I wrote before so I will focus on the difference between the two and I believe it comes down to the production and tone of this record. Its still an impressive recording for the time but it feels a little less inviting, somewhere in the low to mid range is somewhat hollow and the guitars find themselves squeezed into a narrower range, leaving them rather visceral and sharp. It changes the albums complexion and the tone is rawer, a bit unchained and as a result I find it a little less comforting to sink into. The ears adjust but its always got a bit of unsettling venom about it.

With that sharper edge the music sticks to a much firmer aggressive state between the Death and Thrash with no musical breaks or odd time signatures, apart from the short album opener mixing light synths with the sounds of crashing waves and a symphonic piece for the final track. The riffs steer to a darker, aggressive posture and the groove element is toned down, many riffs feel like they are just a step away from some much needed bounce but given the overall theme that's not what the records looking for. Its another onslaught of short songs rapidly going through the motions with inspired musical ideas that culminate many fun and memorable riffs. The bass guitar holds back in comparison however the drums are as equally involved and wild through the albums course. A classic, however I find the follow up ticks more boxes for me personally.

Favorite Tracks: Room With A View, I Deny,

Rating: 8/10

Atheist "Unquestionable Presence" (1991)

Revisiting records of old, Florida Death Metal outfit Atheist's sophomore record "Unquestionable Presence", a subtle oxymoron, is a gem of a record I seemed to notice of in my youth. Exploring the Death Metal scene many years ago they were another band I liked in a wash of many. It didn't stand out at the time but hearing "Enthralled In Essence" again after many years had me blowing the dust off and tuning in for another spin. With such a more experienced ear for Metal and extreme music it became quickly apparent that in 1991 Atheist were ahead of the pack. Introducing Progressive elements in a more diversified sound, they could well be the first labeled as "Technical Death Metal", marking their music with complexity, intricate workings and musical theory.

The record opens up with a vivacious bass guitar at the forefront, dancing away individually between the shuffling drums and the tenacious guitars. Something that would become a staple of Technical Death Metal. It rumbles in the unforgiving, building a weighted atmosphere spliced with temperate grooves and two minutes in a vigorous solo bursts light into the atmosphere before it shuffles its way back into its heavier tone with uncommon time signatures looping under a 4/4. To juxtapose the dense sound some soft, sombre clean guitars and the sounds of birds chirping set the calm before they deliver a mighty, stomping thrash groove. The chirping leads through to the next track and its a thoughtful arrangement of riffs and assembly of ideas that culminate into another great track.

Other bands at the time were largely pushing the boundaries of Death Metals aesthetic, intensifying its tone and extremifying its ideology. Atheist set their sights on an expansive sound that could transcend the genres traits while retaining its brutal aesthetic. It did so with a streak of Thrash Metal that you can still hear a fusion of today with bands like Revocation. They don't bludgeon but take that weight to groove and the infectious bursts of adventurous guitar solos really root themselves in scene that was giving way to new sounds at that time. "An Incarnations Dream" starts of with a sombre, moody and atmospheric acoustic that builds up a suspense in its opposition to samples of riots and police sirens. The lead guitar really transforms and elevates the instrumental before its cut away and we are lured into the records reality again. It drops into a fantastic spacious grove reminiscent of Pantera and another riff sounding like Metallica on "Kill Em All" plays briefly between an onslaught pounding riffage.

The band have an arsenal of ideas and bring them together in a chop, change and evolve approach. Every song is turning over at every moment, never resting on their laurels which adds up to rather short songs that get through their ideas in a sprint. They could easily be drawn out into epics like many progressive songs do but this band get straight to the point and condense everything. Its just the aforementioned "An Incarnations Dream" that I would of loved to hear more of the illuminating intro but alas it goes against the core principle of continual evolution and across the short thirty two minutes this record runs for it makes for an ever exciting listen that never lulls.

With "binge listening" my ears are well attune to what is an old, 90s recording. Even so I think this album sounds gorgeous with what they were working with. The guitars have texture in their heavy, lower reaches and stretch into the highs with a sharp illuminated tone. The bass guitar is everything you could ask for, upfront in the mix with a thick bold tone. It gets plenty of time to shine through the songs, rarely mirroring the guitars directly. The drums are fantastic too, sounds like your in a room with the kit, lots of natural reverb on the toms and a crisp snare. The kicks have both a notable clicking and deep thud, not great for blasting but the drumming hear is spirited, lively and going all over the kit, it compliments it well. My only "negative" point are the vocals, not bad but not particularly impressive, vocalist Kelly Sheafer has a screechy style, very Thrash with a lot of strain and force in his voice, it doesn't carry a lot of weight but its presence doesn't lesser the music. Terrific rediscovery, I'm compelled to go through their other records now.

Favorite Tracks: Mother Man, Enthralled In Essence, An Incarnations Dream

Rating: 9/10

Revocation "Great Is Our Sin" (2016)

They were once my shining beacon of hope for Metal music and as my taste expanded their impact on me faded. Disappointed by "Deathless" I wasn't going to get to excited over the Boston based outfits sixth full length record but from the first listen I knew this was something to get my teeth into. With the departure original drummer Dubois-Coyne the band were set to loose a key component of their sound, however replacement Ash Pearson from Canadian Metal band 3 Inches Of Blood does his service, providing the band with a technical backbone, armed to the teeth with tight rattling drums that bludgeon away between shuffles, rolls and blast beats. He does have a tenancy to dive into lengthy pedal rolls but the general intensity is spot on, if not toned down slightly from previous records, accommodating the guitars more so than firing aside them. With David showing no signs of losing inspiration "Great Is Our Sin" is ten tracks of dense, crafted Metal loosely themed around the woes of humanity repeating the failings of history.

With tinges of Black, Death and Thrash a thick and sprawling beast unravels from within the violence of aggressive music. With darkness, aggression and groove these songs take steadily progressing journeys through David's arsenal of lively riffs, never settling on a repetitive moment, as the band so traditionally do. On this record though the tint is darker and the moods of the songs jump around a little more with some of the more pummeling riffs against those with a less menacing demeanor. And then there's David's guitar solos bursting into life with purpose and intent, able to illuminate a song and as he so typically does, use a guitar solo to swiftly transform. The range of riffs are remarkable, never a dull moment and so distinctly Revocation it is a comforting listen to an old fan.

Moments like the instrumental "The Exaltation" are like flashbacks to the days I first discovered their "Empire Of The Obscene" debut. A song that bursts into classic Thrash between moody atmospheric riffs and a guitar solo reminiscent of Megadeth in their hay day. That excitement isn't as available on every track, some of which are more rooted in the dooming atmosphere of mankind's perils. Its in these slower, crushing moments that Revocations grip isn't as tight. As their sound progresses it has yet to stale but for me David's guitar work and style doesn't catch me out as often as it used to and with a more expansive interest the purist Metal intent is sometimes the less interesting choice to listen to.

"Great Is Our Sin" is a loaded gun of sharp guitar shredding, the trios chemistry sounding great on a sturdy production that I hear no faults in. Every moment is crisp, sharp and audible between each of the instruments. The bass is a little less adventurous than I remember with only a couple of memorable moments where it made an impact in the forefront of the song. David's vocals are biting, thick with anger and animosity, his range a little more defined and his scream packing more meat than I remember previously. He also flexes some cleaner vocals, deep bellows and sung lines fit perfectly into the albums theme. I think its a cracking album that's probably a fair few shades better than my enjoyment of it.

Favorite Tracks: Arbiters Of The Apocalypse, Crumbling Imperium, The Exaltation, Only The Spineless Survive, Cleaving Giants Of Ice

Rating: 7/10

Napalm Death "Enemy Of The Music Business" (2000)

Drawn in by the short, hyper-aggressive and grooving track "Thanks For Nothing" I think Ive found what may just be my favorite Napalm Death record. With thirty years to their name and a dense catalog of records its hard to figure out whats for you in the many varying forms of Grindcore and Death Metal on display. "Enemy Of The Music Business" strikes me as the refocusing of adrenaline charged Grindcore with the better remnants of their Groove Metal records like "Diatribes". In this balancing of influences Napalm capture the pummeling style and frenetic energy with moments of groove and mosh friendly break out riffs that just works perfectly for me.

As to be expected with this band its a constant barrage of shuffling arrangements innate with aggression and anger firing out at the music industry in a time of its peak stranglehold on record sales. Barney's raging growls bark out with occasional moments of comprehension often relating to the records title. Behind him the drums rattle and rumble with intensity and snare heavy beats steer the songs into calamitous moments of blast beats and heavy pedal manipulation. They are relentless, never quieting down for pace keeping and always being and the front of an unrelenting storm. Just like the records Groove sensibilities they have moments of bounce between grinding intensity.

The song structures are best heard in the guitars and accompanying drum patterns as they quick and swiftly burn through riff after riff of dizzying power chord thrashing and brutal guitar shredding. These songs surge with an intensity from guitar work that plays with discords and tremolo picking as they continually switch and turn with every passing moment. Its a collection of loaded riffs thrown together in a maelstrom of violence that build up to short bursts of unrestrained aggression in the form of a song, usually with at least one key return to riff to hold it together.

The first half of the record throws plenty of groove and break out head banger moments into the fold and that's what makes each of these songs work for me. In the second half the mood intensifies and the blast beats, dark and snaky guitar riffs don't always surmount to a breakout moment with a few tracks. The records production is decent, its a noisy affair but the snare has bite, the kick kicks and the guitars are ripe with a sharp tone. Maybe the bass is a little buried beneath the chaos but it all comes together for the records purpose, to vent frustration, hate and aggression.

Favorite Tracks: Next On The List, Constitutional Hell, Vermin, Thanks For Nothing, Cant Play Wont Pay, Conservative Shithead

Rating: 8/10

Abnormality "Mechanisms Of Omniscience" (2016)

My excitement for the news of Abnormality's sophomore record was high but faded quickly upon hearing it for the first time and many listens hasn't warmed me away from that initial disappointment. I discovered this band through their video for "Monarch Omega", a brutal onslaught of catchy demonic riffs and blinding blast beats. Their debut "Contaminating The Hive Mind" didn't quite deliver the same energy on every track but showed a lot of promise for a band who weren't trying to rewrite the rule book but carve their own style into an already heavily saturated Death Metal scene.

"Mechanisms Of Omniscience" hasn't left me with much to remark on other than a consistently flat feeling from one track to the next. Its hardly offensive, out of touch or missing the mark and the record is a consistent flow of tight and precise Death Metal from the ever rattling sonic drums to the frenetic guitar work and deep guttural vocals. With the exception of one track nothing in the record seems to break away or feel remarkable, its a constant drone of colorless brutality and dissonant guitar works that shifts, transforms and effortlessly flows through its arrangement of riffs that never culminating emotionally. The production and instrumental performances are on point but nothing meaningful emerges and even in its heaviness that adrenaline surge you'd expect is nowhere to be found. Its to much to be critical of that but no matter how many times I gave it a spin there was very little to be excited about.

Favorite Track: Synthetic Pathogenesis

Rating: 4/10

Irreversible Mechanism "Infinite Fields" (2015)

There is a reason Ive waited a while to talk about this record, It reminded me so fondly at the time of Dimmu Borgir's "Puritanical Euthoric Misanthropia", I wanted to write about that one first. PEM is the sort of record that paths the way for these high octane, Extreme Metal and Symphonic hybrids. In the time thats passed Ive paid more attention to the bands Death Metal traits and perhaps it bares more of a resemblance to a band like Aeons Confer but whatever similarities it has, It's part of a musical niche I adore. I spotted this on Blood Music's bandcamp page, the same place I discovered Kauan, instantly I knew it was for me. Irreversible Mechanism are a duo from Minsk, Belarus. The first music from this country I am proud to add to my archive, which is organized by country. "Infinite Fields" is their debut dropped last year.

Much like the aforementioned bands, this one exists in the technical ecstasy of high precision, energetic performances of tight, sturdy musicianship and guitar shredding that requires much skill, dexterity and musical understanding to execute. There's not to much to distinguish them from the genres expectations, they have a more Death Metal leaning and don't over emphasize any instruments but what is apparent is the level of excellence that never lets up from start to end. Its experience is pragmatically dark and sinister, with a tinge of that astral charm where choral synths bring a sense of vastness only known in space and time. The flow is consistent and rarely breaks for any form of tangent, the guitars however often drop out to let composed symphonies to shine through, which are ever present, but sometimes out shined and drowned out by the metallic intensity.

Over soft lush strings beautiful pianos chime in the moments between the blistering guitars and the record has a stunning production of which the snare drum has a punchy, cutting chop that slices through stunningly on many of the blast beats the records drummer turns to in between a continual barrage of fast, interchanging technical beats, fills and rolls. It is quite the onslaught with all instruments firing on all cylinders with detailed levels of instrumentation. It all finds its place in the balance to make remarkable atmospheres perfect for a fan of this particular type of Extreme Symphonic Metal!

Rating: 7/10