Soilwork - Overgivenheten

http://www.secret-face.com/

#FOR FANS OF: Death/Metalcore

This one helluv a catchy album. I'd say one of their best releases since 'A Predator's Portrait. The guitars are simply amazing and the vocals fluctuate sometimes screaming sometimes singing clean. This reminded me a little of metalcore bands but they've got their own sound to them. Sad about losing their guitarist David Andersson. It's tragic as he was only 47. But being his last effort with the band, I thought the riffs were just amazing. Such feel to their album and variety. Between clean vocals, melodic guitar riffs and a solid sound quality in their overall production. What a monument of an album!

There were a lot of clean tone segments but the guitars that were heavy drowned them out. But yeah, those segments of clean work show so much essence to their souls. It's not a super long release but it's so quality in their musicianship.

I've been following Soilwork since 'The Chainheart Machine' came out I believe in 1998. I've always admired their music and songwriting capabilities. They were always tops with me. And this album does the band justice wholeheartedly. I liked this whole release and it shows the emotional state of the band. Mainly the songwriters they were totally innovative and strong. These guys have been making good music since the late 90's. I always liked their melodic death metal genre. Though, nowadays they're more melodic death mix with a little metalcore. It's still likeable material, don't get me wrong, they're just not as heavy as in the early Soilwork days.

These guys still have a great deal to offer despite losing David last year. He was with the band for about 10 years. A lot of his work was with the final release with this one. He was so talented. And that totally shows on this release. Old Soilwork is gone, but the new is still going strong with their melodic music and amazing musicianship! (Death8699)

(Nuclear Blast - 2022)
Score: 80

https://www.facebook.com/soilwork/

Sarcoptes - Prayers to Oblivion

#FOR FANS OF: Symph Death/Black

Founded in 2008 by Sean Zimmerman and Garrett Garvey, the Californian duo Sarcoptes has always taken its time to release new stuff, as we have enjoyed only two Eps and two full lengths in its 15 years of existence. Luckily, both the EP, and especially, the impressive debut album 'Songs and Dances of Death', were worth of our time. Not being a great fan of thrash metal influenced black metal, the debut effort took me by surprise with its absolutely tasteful mixture of purely black and thrash metal riffs, achieving an excellent merge of both genres. If this wouldn’t be enough, the band introduced symphonic elements through the whole album, not in an astonishing quantity, but very tastefully used and placed, creating a truly majestic album which definitively made me love it.

So, seven years after the aforementioned great debut, and after the quite interesting EP 'Plague Hymns', Sarcoptes returns with its sophomore album 'Prayers to Oblivion'. The second opus is always a crucial moment for every band. It might be the project’s milestone or should start questioning if the project was only a one-day success band. Thankfully, 'Prayers to Oblivion' proves to be the first case and confirms that Sarcoptes is definitely to stay with us, hopefully, for a long time. The previously mentioned EP gave us some clues about Sarcoptes evolution with this new album. If 'Plague Hymns' showed more ferocious and also intricated compositions with an amazing guitar work, 'Prayers to Oblivion' confirms this evolution with a collection of five songs, where there isn’t a single second which could be considered a filler. The more aggressive approach could let me think that the symphonic and epic touches of the first work could be gone or severely decreased, but fortunately this is not the case. Sarcoptes has managed to create and album full of blast-beasts, but without lacking the symphonic and atmospheric arrangements, and seriously elaborated compositions. There is room for straightforward aggression, and as well for truly majestic moments. In that sense, there is a great differentiation between the shorter tracks, "Spanish Flu" and "Tet", and the rest which are way longer. Nevertheless, this doesn’t mean that both short tracks lack of total variety and grandeur. But logically, a track like for example, "Spanish Flu", shows no mercy in terms of speed and pure brutality, where I would like to highlight the drums, which are absolutely smashing, remarkably with the hammering double-bass. As said, the shorter tracks show the most brutal face of Sarcoptes, although they keep the symphonic elements which is something I really appreciate. On the other hand, we have the longer compositions, and seriously, this is where Sarcoptes delivers the goods. As I always say, longer compositions can be risk because you need a certain degree of inspiration if you don’t want to create an unfinishable boresfest. But we don’t have to be worried about it in this magnificent album. From the extraordinary album opener, "The Trenches", Sarcoptes proves the amount of work they have put on this album. The production has been improved, everything sounds cleaner and especially more powerful. The debut’s sound was already very good in my opinion, but 'Prayers to Oblivion' proves that experience is always a key element. The song sounds crushing, and it is especially fast, with the mentioned devastating drums. The riffing is top-notch, excellently executed and varied. Pace wise, this composition reflects what the rest the album will give, relentless speed but never lacking variety in terms of tempo changes where it is needed. Don't expect boring monorhythmic compositions, but severely fast songs with enough changes to keep you absolutely hypnotized. As they did in their debut album, the key arrangements are very tastefully placed, never overshadowing the other instruments, but sounding equally loud, so you can appreciate and enjoy them. The arrangements add the majestic touch I love from this band and also have experienced an evolution or better said, an enrichment, as they sound more varied. Brutality meets epicness, and believe me, it really works. The third track "Dead Silence" follows similar patterns, being equally intense, majestic, and varied with a wonderful final part with all the epic feeling you could imagine. The album closer "Massacre at My Lai", has probably the longest section of all the album with a mid-tempo pace, which gives you some time to breath, but the intensity is increased till the song becomes a total apocalypse. Then, the song reaches its inevitable ending with a much more atmospheric and calmer final act. It’s like the pace you will find in a land devastated land by a hurricane. What an ending.

'Prayers to Oblivion' by Sarcoptes is definitively a tremendous sophomore album, an effort that should place them in the first line of the scene. Its incredibly well achieved mixture of speed, insane brutality, exquisite melodies, and excellent symphonic arrangements, deserves all the praise they should receive. (Alain González Artola)

(Transcending Obscurity Records - 2023)

Score: 90

https://sarcoptesblack.bandcamp.com/album/prayers-to-oblivion-black-metal

Darkane - Inhuman Spirits

http://www.secret-face.com/

#FOR FANS OF: Death/Thrash

I've only heard a few Darkane albums I own 'Rusted Angel' and man is that one a gem. It's revisiting them now which the music is still solid but the vocals I'd say were better early on. The riffs on this one are dynamite! A lot of creativity and catchiness. I wouldn't change anything about them! Just the vocals shift to guttural which goes well with the riffs. An excellent effort on here. They blasted through 2022 on this but it took a while for this one maybe 6-7 years without anything new. But this one just smokes. These guys have a load of talent and this one is about 45 minutes or so in duration.

The lead guitar work was amazing. And the rhythms are highly technical. They are a mix of melodic death metal with thrash. It works out pretty well on here. The riffs are fresh and intriguing. They do well in the songwriting portion and I'm much into the lyrical concepts.

Sounds like the guitars are tuned low maybe to B or C. This album needs to flourish more. Basically, that they need more of an audience. It might be because they were silent for some time but are back in full roar! Nothing really negative about this release.

I think that the production quality was well done. Just the sound quality overall was top notch. It isn't an overly fast album, though the tempos are varying but not exponentially. I like how they switched from a raspy vocal output to guttural sounding voice. It was a good turnaround in that respect. It's not too much of a metalcore switch but it does seem like that. What a great album all the way through. I didn't want it to end really! All the instruments are top notch and tight. These guys need more releases in the future. Keep melodic death and thrash from going extinct! I'm glad I found this when I did! It's worth a listen! (Death8699)

(Massacre Records - 2022)
Score: 80

http://www.darkane.com/

Hexenaltar - Bestial Damnation

#PER CHI AMA: Black/Death/Thrash

Dalla Polonia con furore, questa volta è proprio il caso di ribadirlo. Quello di oggi degli Hexenaltar è il secondo EP del 2022 intitolato 'Bestial Damnation' (il precedente è stato 'Tormented Possession', a cui è seguito peraltro anche uno split in compagnia dei Bastard Christ e dei Warfare Noise). Tre pezzi più intro per dieci minuti appena di musica che si aprono con le note organistiche dell'opener. Poi è un death thrash senza troppi fronzoli quello di "Altar of the Witches", per tre minuti e mezzo all'insegna di un furore primigenio da parte del quartetto di Varsavia. Il sound è oscuro, rutilante, malvagio e si protrarrà, con lo stesso mood, anche nella successiva "Desecration", brano schiacciassassi che non ha molto da offrire in fatto di originalità. Questa la pecca essenziale di un album che non ha molto da chiedere e nemmeno da dare. Solo un riffing ribassato, un vocione da orco cattivo, una ritmica a dir poco lineare e soprattutto, zero assoli. Si chiude con "Morturay Sacrifice", un pezzo che potrebbe rievocare i Bathory degli esordi, ma anche i Venom, per un tuffo nel passato di quasi 40 anni. Vetusti. (Francesco Scarci)

(Godz ov War Productions - 2022)
Voto: 60

https://godzovwarproductions.bandcamp.com/album/bestial-damnation

Municipal Waste - Electrified Brain

http://www.secret-face.com/

#FOR FANS OF: Thrash/Crossover, Nuclear Assault

Some great crossover/thrash. I got the CD, it's totally worth it! They have A LOT of energy. Still a 5 piece I believe with vocals that are tight with the music. I like the guitars the most. The rhythms are fantastic. The songs clock about 2-3 minutes in length, but they're still good! And the energy is all there. The music is what grabs me the most. The vocals not so much. They're a little annoying it's an acquired taste with them. I don't think they're bad just take some getting used to. I own previous albums of this band and I've had the same issue. A lot of guitar solos too but good! The songs are really catchy.

I'm glad they came out with a new album. It's totally tight too! Clocks in only about 33 minutes and 14 songs. All of them are good but if I had to select some to check out would be "Demoralizer", "High Speed Steel" and "Barreled Rage."

I think this band will be active for a while. They make very good music and they're consistent. They kind of remind me of old Nuclear Assault. There are some similarities to that band with this one. Both very good songwriting.

The production quality was clear the instruments and vocals are mixed well absolutely! It does the band justice and more desirable to own. That's the problem with some crossover acts like Enforced or Power Trip. Their recordings are too solid. But on here, everything is crystal. I'm really pleased on how this album turned out to be. Aside from just marginally liking the vocals, the music and energy were stifling. A lot of songs but they're solid and catchy. They're not overly heavy just fast paced. There are not many songs that are slow. The tempos are pretty much fast throughout. What a great full-length yet again! (Death8699)

(Nuclear Blast - 2022)
Score: 77

https://municipal-waste.bandcamp.com/album/electrified-brain-2

Salem - Collective Demise

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Death/Thrash

Da Israele, ecco a voi i Salem, band dedita ad un death metal con influenze thrash, giustificate, anche se non usuali nella loro regione, dal fatto che i nostri esistono fin dal lontano 1985 ed hanno saputo conquistarsi una meritata fama sia in studio, con una discografia molto prolifica, sia dal vivo, supportando molte bands famose quali Megadeth, Entombed e Disharmonic Orchestra. Un buon death-thrash metal dicevamo, ben arrangiato e suonato, sia nelle parti veloci, dove la batteria è sostenuta e ben evidente, sia nei mid-tempos dove le percussioni fanno da sfondo a delle trame di chitarra abbastanza belle, più per quanto riguarda le parti ritmiche che soliste. Anche la voce fa la sua bella figura: urlata e cattiva, anche se a volte sconfina un po’ nelle tonalità hardcore. Ci sono alcuni sprazzi di canzoni in cui si possono sentire anche cori femminili e percussioni arabe tipo darbuka: per fortuna sono minimi. Meritano supporto i Salem. In tanti anni, hanno portato avanti un buon discorso musicale in condizioni talvolta pesanti, riuscendo comunque sempre ad emergere.

(System Shock - 2002)
Voto: 70

https://www.facebook.com/salemofficialpage/

Molder - Engrossed In Decay

#FOR FANS OF: Death/Thrash

Not a bad follow-up, just somewhat of an average release. But it's good live Molder that totally packs a punch. Definitely death/thrash a lot of their guitar riffs are pretty well done out. And original! The tempos for the songs vary accordingly. The vocals are pretty unique, they sound a little bit like on Exhumed's 'Death Revenge'. The band might call me out on that but there is a resemblance. The music quality is average and the tone of the guitars are mediocre. I'm sure they'll advance with each succeeding release. They certainly have since their older material. They're touring with good bands at least (Autopsy, Cardiac Arrest and Bones). 

 

The album is about 45 minutes but is tight the whole way through. I just dislike the quality of the production. But they'll get better. I'm sure of it! They have a unique songwriting capacity and the guitars go well with the music. The thrash elements go with the guitar/vocals and the death metal is a tinge of that quality. They're a unique style band which I foresee getting better as they progress. I'm glad I picked this up and the live sound is superb. They played an outstanding set at Reggie's in Chicago 10/29/22. It made me appreciate their music much more than what's simply on the studio album. I bought the CD!

 

There are some blast beats that go along with the riffs but not a whole lot. The vocals augment the death metal genre's sound and the riffs are a good blend of death/thrash. It's pretty unique in that respect. I don't know a lot of bands that fit the genres of death/thrash. But it is unique and creative. These guys know how to kick ass! Good musicianship as well! I can't wait to hear more newer stuff from them in the years that follow this. And that they have a long life in them if they stay on this path. Seeing them live I thought "hmm, sounds better than what's on the album release." It sure did!

 

I encourage metal fans to check out Molder's latest, not their previous. And see how you like it. It's not at all generic. I think the sound quality just could've been a lot better a lot worse! But hey, this is a newer band, so cut them some slack! They're going to get more mature as they progress. They're touring with legitimate bands for a reason! They have enormous potential. And this LP is an example of their maturing. It's available on streaming but show the band some support and buy the CD. You won't be disappointed! This band puts on one helluv a show, check them out if you can! (Death8699)

 

(Cianeto Discos - 2022)

Score: 74

https://molderil.bandcamp.com/album/engrossed-in-decay

Faust - Cisza Po Tobie

#PER CHI AMA: Prog Thrash

I Faust sono una band in giro da metà anni '90 che, ad un certo punto della loro storia, ha pensato di prendersi una pausa di ben 15 anni, ricaricare le pile e tornare sulle scene nel 2019, rilasciando un paio di album, di cui quest'ultimo 'Cisza Po Tobie'. Detto che io la band di Wyszków stranamente non la conoscevo, mi avvicino con un certo interesse a questo cd che raffigura una Madonna con un bambino che tiene in mano quello che sembra essere il serpente del peccato originale (viste le mele marcescenti che circondano il quadretto). Nonostante questi elementi religiosi, non mi sembra di intuire (i testi sono in polacco) che ci siano riferimenti religiosi nelle liriche, semmai si parla di una fuga di un genitore col proprio figlio dalla guerra, probabilmente in riferimento al conflitto in atto oggi in Ucraina. Fatte tutte queste dovute premesse, il disco si palesa con una lunga intro, "A Jeśli Umrę", in cui la voce (operistica) è affidata ad una gentil donzella (credo tal Karolina Matuszkiewicz) in un contesto estremamente melodico, ma non lasciatevi ingannare visto che quando irrompe "Za Tamtą Górą" sembra di aver a che fare con una proposta a cavallo tra Testament e Nevermore, ricca di furenti galloppate, ma anche di parti più atmosferiche o arpeggiate, leggasi il break acustico a metà brano con tanto di strumenti folklorici a supporto. La voce del frontman, pulita ma comunque aggressiva, faccio a dire il vero un po' fatica a digerirla, ma sono convinto sia più per una questione legata alla lingua in quanto non riesco ovviamente a seguirne i testi (sarebbe stato sicuramente meglio l'inglese). Anche qui fa capolino la voce di una dolce fanciulla. "Pokocham Tę Cisze Po Tobie" parte presentando un dualismo tra voce femminile e maschile (qui anche in formato growl) offrendo peraltro una ritmica che mi evoca anche un che degli Annihilator, sebbene sparata alla velocità della luce. Tuttavia, i molteplici arrangiamenti, quasi sinfonici a tratti, sembrano addolcire la supposta devastante che i nostri sono pronti ad infilarci, indovinate voi dove. Ottima la parte solistica anche se avrei preferito un più lungo assolo, però alla fine il brano è figo. Una sirena d'allarme e un coro (che tornerà nel corso del brano) ci mettono in fuga con "Pogarda", song dotata di una splendida linea di chitarra, di un groove assai convincente e di un assolo finalmente più strutturato, ed un finale di classica matrice "testamentiana". Un piano apre "Iskra Pod Śniegiem", ma poi in realtà è una bella randellata nei denti quella che ci si para avanti, anche se i nostri, ancora una volta, indorano la pillola con rallentamenti, eteree voci femminili, da cui ripartire più selvaggi che mai, ma con mille trovate musicali in testa. "Jakbyś Gryzła Żwir" è bella tosta e diretta, con un giro di chitarra che mi ha evocato il buon rifferama dei Death, poi si abbatte una tempesta sonora senza precedenti, quasi di scuola Morbid Angel, per quella che è la canzone più incazzata del lotto, la più tecnica, quella con l'assolo più tagliente. Insomma una figata. In chiusura, l'esotica "Zdążyć Przed Deszczem" con la scena affidata nuovamente alla splendida, e qui malinconica, voce di Karolina. Insomma, un graditissimo ritorno, e una bella scoperta per il sottoscritto. (Francesco Scarci)

(Szataniec - 2022)
Voto: 76

https://faust4.bandcamp.com/album/faust-cisza-po-tobie

Abused Majesty - Serpenthrone

BACK IN TIME:

#PER CHI AMA: Symph Black

Pensavo fossero rimasti i soli Dimmu Borgir al mondo a proporre black sinfonico, invece scopro che in Polonia c’è un’altra band che segue le orme di Shagrath e compagni, con risultati ahimé non altrettanto eccellenti. La release in questione risale al 2004, quando uscì per la Empire Records e l’anno seguente l’Adipocere Records ne acquisì la licenza per rilasciarla in Europa e Nord America. Da più parti considerati come gli eredi degli Emperor, per la loro capacità di unire il black più intransigente con la melodia e le parti atmosferiche, per me non sono altro che un discreto gruppo che non ha inventato nulla di nuovo. I nostri se la cavano degnamente nell’assemblare il black/thrash stile Old Man’s Child con il sound sinfonico dei Dimmu Borgir, grazie a piacevoli inserti tastieristici e a chitarre talvolta ispirate. 'Serpenthrone' è ad ogni modo un album fiero e selvaggio, dove s'incontrano la brutalità del death metal con la malvagità del black. Le violente ritmiche spazzano via con la loro furia ogni cosa incontrino sul proprio cammino, i riffs elaborano complesse strutture musicali, forse vero punto di forza di questo disco, perchè consentono di mantenere la concentrazione costante, durante l’intero ascolto del cd. I pezzi alla fine però, tendono ad assomigliarsi un po’ tutti, anche se notevole è l’impegno da parte della band di ricercare intermezzi dal feeling oscuro, capaci di spezzare il ritmo incessante creato dalla ritmica martellante. Da copione infine, il solito duetto tra la voce scream e il cantato growl. Interessanti le liriche, basate su una vecchia leggenda slava di un mitico re dei serpenti, il tutto ispirato agli antichi racconti della tribù della Regina Lechits, racchiuse nel libro 'The Tome of Ashes'. Peccato che alla fine, l’album puzzi di già sentito, altrimenti mezzo punto in più l’avrebbe forse meritato. Per i soli nostalgici di Emperor e Limbonic Art, ascoltate questo disco! (Francesco Scarci)

(Empire Records/Adipocere Records - 2004/2005)
Voto: 65

https://www.facebook.com/abusedmajesty

Bloodshoteye - An Unrelenting Assault

BACK IN TIME:

#PER CHI AMA: Metalcore/Deathcore

Un urlo in pieno stile Phil Anselmo, ai tempi d’oro dei Pantera, apre il secondo cd dei canadesi Bloodshoteye, intitolato 'An Unrelenting Assault'. Effettivamente quello della band nord americana è un vero e proprio assalto ai nostri padiglioni auricolari, un attacco deathcore al nostro cervello con il puro scopo di fonderlo. La cosa incredibile, che balza subito all’occhio leggendo la line-up del combo, è che il growling brutale profuso è ad opera di una donna, tal Jessica. Amici, l’avvenente singer ha una voce cattiva, profonda e intensa, anche quando, nei rari frangenti di tranquillità, la utilizza nella sua forma pulita e sussurrata. L’act dell’Ontario suona poi una sorta di metalcore in stile tipicamente americano, imbastardito e incattivito da un brutal death di derivazione sempre di origine statunitense: riff taglienti come rasoi costruiscono la base del disco; veloci blast-beat e l’oscuro vocione di Jessica completano il quadro di un lavoro non propriamente avveniristico ed originale. 'An Unrelenting Assault' è un lavoro monolitico che già verso la sesta traccia inizia a stancare ed annoiare il sottoscritto, che comunque imperterrito va avanti per ascoltare le evoluzioni canore della bella cantante. C’è da dire una cosa a sostegno della band: ossia il tentativo di costruire brani complessi che si discostino dall’ondata metalcore americana; grind, thrash, hardcore e techno death confluiscono infatti nelle note di questo cd. Per il resto, i Bloodshoteye avrebbero solo potuto sfiorare la bravura dei Killswitch Engage, non fosse altro che si sono sciolti dopo il successivo album complice il fatto di una incapacità di distinguersi dalla calderonica massa di band che suonava questo genere. (Francesco Scarci)

(Galy Records - 2006)
Voto: 60

https://www.facebook.com/pages/BLOODSHOTEYE/15638820631

Grá - Flame Of Haephestus

#PER CHI AMA: Black Melodico

È un 7" quello che dovrebbe fungere come gustoso antipasto del nuovo album degli svedesi Grá. In attesa di godere di una più lunga e articolata release del duo di Stoccolma, ecco quindi 'Flame Of Haephestus', un side A ed un side B, dove gustarci la title track nel primo lato e "Stella Polaris" nel secondo. L'attacco è all'insegna di un black mid-tempo dove a mettersi in luce è senza ombra di dubbio la melodia di fondo delle chitarre e la voce di Heljarmadr (vocalist vi ricordo, dei Dark Funeral). Un giro di orologio e poi si scatena l'inferno con un maelstrom ritmico che evoca proprio la band madre del frontman. Poi la musica dei nostri si fa più lenta, cupa e minacciosa con un ampio spazio affidato al tremolo picking delle chitarre e ad una ritmica qui molto thrashy, con il basso bello pulsante in background. Poi è una grandinata sonora che mi ha evocato anche un che degli Old Man's Child. Il secondo pezzo apre con un lungo arpeggio che lentamente va gonfiandosi di intensità ma in realtà mai debordando, bensì mantenendosi in rigoroso assetto melodico-strumentale fino alla fine, aumentando contestualmente quel desiderio evidenziato inizialmente, di avere finalmente dopo quattro anni da quel meraviglioso 'Väsen', un lavoro decisamente più corposo. (Francesco Scarci)

(Avantgarde Music - 2022)
Voto: 68

https://avantgardemusic.bandcamp.com/album/flame-of-haephestus

Hexahedron - When the Soul Disappear

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Black/Death

Mi sono compiaciuto con questi Hexahedron, metal band italiana dalle molteplici influenze: infatti, si parte da ritmiche prettamente thrash che sconfinano nel crossover fino a riff death black, con una voce molto versatile, pazzoide in alcuni frangenti. Devo far notare, per la seconda volta nella mia carriera di “recensore”, la bravura di una ragazza, Eleonora per la precisione, che si esibisce egregiamente alla chitarra solista. Tanto di cappello, “spacca” veramente. In soli due anni dalla loro fondazione, i nostri hanno saputo confezionare un bel suono, molto personale, che si divide bene tra veloce ed atmosferico, mai banale, con una produzione che mette perfettamente in risalto l’anima metal del gruppo. I pezzi sono veramente vari nel loro interno, dato che sono stati confezionati da validi musicisti: in primis, a fianco della nostra Eleonora alla chitarra, porrei il basso, pompato e ben arrangiato di Francesco e la voce parecchio cattiva e ben usata di Stefano. Una parola anche per l’artwork molto ben concepito e di sicuro effetto, da vedere. Presagivo un futuro roseo per i nostri, soprattutto visto il supporto della Kick Promotion Agency, ma se ne sono perse le tracce da tempo. Intanto per chi vuole sentire qualcosa di diverso e di ben suonato.

(Self - 2001)
Voto: 70

https://www.metal-archives.com/bands/Hexahedron/7878

Megadeth - The Sick, The Dying...And The Dead!

http://www.secret-face.com/

#FOR FANS OF: Thrash/Speed

Definitely happy I got the CD version of this album. However, the streaming displays two bonus tracks not found in the physical copy of the album. It was definitely worth the wait despite the critics opinions of this release. I'm so into this one. It's probably one of their best in years. There's just a variety of thrash/heavy metal on here. What's not shown is that Steve DiGiorgio is on bass for the recording, not James Lamenzo. He's a permanent part of the band however and toured with them this past year (2021). I got a chance to catch them with Hatebreed, Lamb of God and Trivium! What a show!

The music on here is supreme balancing metal guitar with some clean parts (small amounts) mostly distortion. Kiko takes care of pretty much all of the leads so that Dave could focus on the rhythms and vocals. That's how it's going to be from now here on. The leads were technical reminiscent of Marty Friedman. It's a shame he left the band in 2000 but Kiko is darn good replacement! He had a read of Dave's book when he joined the band. These guys have been a band since 1983 ever since Dave got kicked out of Metallica. Megadeth never had as much success as Metallica but still they have loyal followers!

Pretty much every song on here I like and the production quality is top notch. The guitars and vocals did the album justice, still furious as veterans! They still have it after all these years and the lineup changing over time firings and deaths unfortunately. But as frontman, Dave is always in command showing his good songwriting even at 60 years of age. He still has the fire! This one does any but disappoint. It certainly doesn't one bit the music steals the album. These guys are still as creative as can be and the riffs are catchy as all hell. I think that they're a while from retiring!

Again, I'm glad I bought this CD and showed support for the music industry that's failing due to streaming services. I'll probably collect CD's till I die. This is an outstanding album. I say that it's a "77" average but it's because there are some things that could use improvement but not many things. I'm glad that they took this "old school" approach to thrash metal than their other releases which were more heavy metal. I'm not in favor of the lyrical concepts but that is immaterial. What these guys did on here was monumental. I hate other critics that damn this one where I see as one of the highlights of 2022 in metal. Own it! (Death8699)

(Universal Music Group - 2022)
Score: 78

https://megadeth.com/the-sick-the-dying-and-the-dead/

Soulfly - Totem

http://www.secret-face.com/

#FOR FANS OF: Thrash/Groove Death

My first release from Soulfly was 'Savages' which I found to be interesting. This release seemed bland the first few listens to. Then it kind of grew on me. I wasn't exactly sure what to expect here and well this one is a little bit more experimental and cut-throat. I've been a fan of Max Cavalera since the early Sepultura days in the band. He took quite a different approach then those days here is experimental Max. I like it though, the not knowing what to expect here sort of idea. The brutality, the temperance, the enlightenment. It's 40 minutes of in your face metal with vocal effects and odd time signatures.

This type of metal has a bit of a groove to it with death metal components. A really odd release including the leads with terror on the vocals bellowing. These guys have riffs that are simply atypical and sort of bizarre. I don't know how else to describe this album but just that: ATYPICAL. It might be the norm of how Soulfly works and that's how Max wants it, I just sense a peculiar sounds and rhythms. Nothing seems to remain the same it's just different from all respects. Then the clean tone guitars, it gives me pause about the direction the band is taking here. Weird metal and highly atypical.

Forty minutes of this going on what I've described here. It's solid here, Max sounds odd on this it's forceful but not to the extent reflective of Sepultura's Max in your face. Hell, he's in his 50's now still making metal and Igor doing Sepultura tributes too. He's had to relearn their songs but still sounds good. Soulfly is his project. Weird metal it's totally him just whatever he's doing he's putting his thoughts into this music the rhythms are cool and heavy but this experiment with Soulfly puts Max in a different position. I don't hear a plethora of fans liking this band. Those I do because it's metal but it's just different genres.

The anger and brutality is here but Max is in a league of his own dynamics. If he continues in this direction, who knows what to expect on the next LP. More experimenting or something more straightforward? It's unpredictable as to where he's going here. Heavy guitars, clean bouts and vocals with an echo/reverb. This guy is totally metal, it's just his ideas for metal aren't at all the same as the Sepultura days where he's utterly thrash galore. But on 'Roots' is where his strange where his writing went opposed to 'Beneath The Remains' and 'Arise'. I think the expectation is a new Sepultura here with Max but it's so not. Don't expect that at all. For Soulfly fans, this is a keeper! (Death8699)

(Nuclear Blast - 2022)
Score: 74

https://www.soulfly.com/totem

Krisiun - Mortem Solis

http://www.secret-face.com/

#FOR FANS OF: Brutal Death

A step into the older Krisiun via 'Conquerors of Armageddon' but slower. There's a similar production quality but better. The riffs on here seem to flow. Reminds me also of 'Ageless Venomous' at least the songwriting as well. It's a dive into the middle of those both releases mentioned! I like this one a lot, but it's not getting higher than a "75" rating. They basically found some riffs to work with the vocals but the time signatures are not constant blast beating. In fact, a lot slower. These guys have been going strong since their origin in the year 1990. I'm surprised no second guitarist this whole time just the brothers Alex, Max and Moyses.

This one lasts for about 40-45 minutes and well worth it. A lot of the riffs are technical though they don't receive the blast beating like 'Conquers...' did. I don't think they'll ever make an album as good as that one in my humble opinion. But they show us fresh riffs and that they still have it in the songwriting category. Moyses doesn't have a whole heck of a lot of leads but the licks shine in glory. Brazilian death metal-ers never seem to let up. The sound quality of the album is quite good nothing really muddled everything flows well. The vocals, guitar and drums are top notch. They've gotten a little experimenting with the music.

It's wholly brutal here but they have a lot of things that they've done differently. I still think that 'Conquerors...' and 'Ageless...' are better but this one has a lot of high points where they've just constructed some great melodies for a death metal band. Maybe take out the acoustic guitar and leave it to utter brutality. I suppose that they just wanted to vary it a little but I didn't find it necessary to include that. Otherwise the whole album just shines. It's just a different approach to their music. I thought it could be a little faster but maybe this is going to be the way they're going to be writing like till they break up and go their own ways.

There are a lot of highlights to this album I just think it could've been faster. That's my only beef I have of this whole album. The end of 'Conquerors..' and 'Ageless...' into their own "new" era of the band. They still uphold the brutality at times but all is variety. I like the album and I encourage purchasing a CD or if you wish to stream it's on YouTube and Spotify. These guys need support even though they've been around for over 30 years. They still have it and hope that they will continue have it. Show your gratitude that these guys still are making good brutal death metal! (Death8699)

(Century Media - 2022)
Score: 75

https://www.facebook.com/krisiun.official/

Death Knell Compilation

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Black/Death

Generalmente le compilations suscitano una certa diffidenza nel pubblico, che teme di ritrovarsi fra le mani antologie di brani di seconda scelta. Cercherò dunque di riferire in modo oggettivo quale sia il contenuto musicale di questo cd, prodotto da un'etichetta colombiana. Esso racchiude sedici brani, riconducibili ai seguenti filoni: thrash, thrash-death, black metal e death-noise. Fanno da apripista i colombiani Agony con un brano mid-tempo in cui si colgono non poche reminiscenze di Marylin Manson. Seguono i tedeschi Ancient Ceremony: la loro è una canzone cupa e teatrale; le vocals femminili e le chitarre ricordano a tratti i Cradle Of Filth. Gli slovacchi Dysanchely praticano un heavy metal cadenzato il cui solo elemento aggressivo è rappresentato dalla voce. Gli olandesi Tombe eseguono un brano violento, veloce, di grande impatto, benché non originalissimo. I Denata con "666" ci offrono una vera e propria sferzata di energia: diretti e senza fronzoli, questi svedesi. E dalla Svezia giungono pure gli Incinerator, la cui formula consiste nel riproporre tali e quali soluzioni sonore risalenti ai primissimi albori del "movimento" thrash: avete presenti gli Exodus di 'Bonded By Blood'? I canadesi Horfixion ricordano "appena appena" i gloriosi S.O.D., (c'è Billy Milano dietro al microfono?) ma si fanno ascoltare. Nella compilation compaiono tre gruppi italiani ben conosciuti: Stormcrow, Nefarium ed Hatework, ciascuno con un brano che ben esprime il loro stile. I russi Festerguts non saranno il massimo della tecnica ma la loro canzone, per quanto non immune da vaghi richiami ai Cradle Of Filth, è cupa quanto basta e satura di atmosfere malsane. La traccia degli olandesi Warlust, introdotta da colpi di cannone e raffiche di mitragliatrice, è un'interminabile sventagliata black come se ne sono già sentite tante. I brasiliani Abomination si fanno avanti con una breve canzone thrash, caratterizzata da un riff piuttosto morbido. Si cambia totalmente spartito con i Mithras, dal Regno Unito, che ci immergono in un groviglio cacofonico incandescente, interrotto da un intermezzo soft, il tutto condito da una voce brutale e cavernosa. Dei pazzi rumoristi non privi di idee. Coi polacchi Throneum si resta nei paraggi del death-noise. Il loro è un brano criptico, intricato, con il basso in bella evidenza e una voce furiosa. Chiude l'album una canzone breve e bizzarra degli argentini Prosopia, in cui una voce ruvida si va ad innestare su un tappeto di chitarre stile anni Settanta. In ultima analisi, una compilation variegata, che offre un interessante spaccato del mondo metal underground.

(Eternal Night Records - 2001)

Voto: 70

https://www.youtube.com/watch?v=4NYyVQsw0ZY

Bestialord - Bless Them With Pain

#PER CHI AMA: Thrash/Death/Doom

Dagli US ecco arrivare un mefistofelico mostro che risponde al nome di Bestialord, un moniker che pensavo mi potesse portare nei paraggi di un death black senza compromessi e invece mi consegna in questa terza release intitolata 'Bless Them With Pain', un disco devoto ad un thrash death doom ritmato e chiaramente super old school. Le influenze che si riscontrano infatti sin dall'iniziale title track sono riferibili a band quali Celtic Frost o primi Cathedral anche se poi a livello solistico, il terzetto originario di Wichita, si lancia in suoni più heavy metal che estremi, sebbene il growling possa semmai evocare Death o Obituary. Insomma un bel minestrone avrete capito, ma tutto concentrato comunque in sonorità estreme di fine anni '80 inizi '90. Tutto questo è sottolineato anche dalla celerità di un brano come "Face Your Sin", thrash death nella più marcata tradizione americana, con un riffing che richiama i primi Over Kill. Con "Upon the Altar" si rimane nei paraggi di un death doom (cosi come "Are We Not Gods") che puzza proprio di sulfurei suoni infernali; ci pensa fortunatamente una buonissima chitarra solistica (ottima anche in "So It Shall Be" e in "Starless Seas", cosi vicina ai Nocturnus) a dare una certa verve ad un pezzo che altrimenti non mi farebbe certo gridare al miracolo. E il problema permane anche nelle successive tracce, a mio avviso rimangono troppo legate ad un passato di cui dovremmo rassegnarci al fatto che non ci siano più degni eredi. Le otto song qui incluse alla fine faranno la gioia di vecchi nostalgici del thrash death di tre decadi fa, gli altri per favore si astengano o si vadano a recuperare gli originali. (Francesco Scarci)

(GrimmDistribution - 2022)
Voto: 62

https://grimmdistribution.bandcamp.com/album/079gd-bestialord-bless-them-with-pain-2022

Epidemik - S/t

#PER CHI AMA: Thrash/Death

Su oltre 2000 recensioni da me scritte, non mi ero mai imbattuto in una band proveniente dal Costa Rica. Eccomi accontentato dalla GrimmDistribution che mi ha messo in mano la proposta di questo combo proveniente da Cartago ed un debut album omonimo che arriva a ben nove anni dal primo EP della band. La proposta dei nostri? Un thrash death metal che evoca quanto fatto da band quali Sepultura e Kreator, almeno quando sul mio lettore scorre "Global Mass", traccia d'apertura di 'Epidemik'. La song non mette in mostra chissà quali innovazioni per il genere, anzi mi proietta indietro nel tempo di 30 anni, tra riffoni robusti, cambi di tempo che richiamano inequivocabilmente la band di Mille Petrozza e soci, ed un buon assolo conclusivo di scuola Slayer. La medesima trama si applica anche per la successiva "Murder by Command" e via via dicendo per le altre tracce qui incluse, tra ritmiche serrate, qualche rallentamento ("Rotten n Dead") e taglienti, quanto azzecatissimi assoli, che rappresentano il reale punto di forza di questo lavoro. Le influenze che si possono scorgere durante i quasi 48 minuti di musica inclusi in questo disco, registrato a dire il vero non proprio benissimo, sono poi molteplici, grazie a qualche riferimento ancora a Lamb of Gof o Evildead, senza voler citare l'arpeggio iniziale di "The Mortal is Lost" che mi ha evocato i Metallica di "Nothing Else Master", per un brano che in realtà poi vira verso il più classico thrash metal. Servirebbe ora una bella sgrezzata ed un bel po' di originalità in più per rendere un lavoro onesto anche intellettualmente interessante. (Francesco Scarci)

(Sanatorio Records/GrimmDistribution - 2022)
Voto: 62

https://grimmdistribution.bandcamp.com/album/077gd-epidemik-epidemik-2022

Abbath - S/t

http://www.secret-face.com/

#FOR FANS OF: Black Metal

I thought that this release is actually better than their new LP because it sounds less like Immortal and more like Abbath's band. So on here, you hear what Abbath had in store with listeners, not Immortal. I liked it the whole way through. They have some catchy songs. I liked this from start to finish, even though not everything I liked about it. I liked the aura and atmosphere it has to it. It's a little bit eerie in a way. The guitars and vocals are the favorites of mine out of everything on here. The recording quality was good, pretty top notch if I might say so at least. I just thought a little of it is kind of flat sounding, but not too bad.

Abbath sounds like their holding the sound of their own whereas 'Outstrider' sounds too much like Immortal. Of course Abbath's vocals can't be duplicated so he'll always sound like himself. He changes up a little bit on here but not too much. The music is just astounding, especially track one. The songs are pretty much all killer and pack a punch to them. I don't think they ever let up at times. A lot of the riffs are technical. And original sounding as all hell. Abbath came up with some KING guitar pieces he really delved into creativity city. I don't doubt that it took some time to write the music to this one.

The sound of most of the vocals were grim but that's what makes his voice not duplicated in black metal. Though the latest Immortal with Demonaz was sounding pretty much like Abbath for that record. I still think it can't be replicated. And the riffs are sweet the whole way through. It's too bad he didn't carry this sound to the latest Abbath. It would've been better not to sound like his former band. On here, he just tears it up. The whole release is killer. Even the bonus tracks. I liked this one the whole way through. There wasn't anything that I'd change on here. It's definitely monumental.

The only reason why I knocked off some points is because I thought the recording could've sounded a little bit better. Nevertheless, they get an 80. Probably one of the better recordings in 2016. I can't believe it's been that long before he's had this record out. But anyway, for him to be still active in the metal genre is good. He's quite an outstanding musician. His lead guitar work could be a little bit better but still, his songwriting is exceptional. One of my favorite black metal musicians. As long as he keeps making music, I'll be happy with that. Give this one a listen to! (Death8699)

(Season of Mist - 2016)
Score: 80

https://abbath.bandcamp.com/album/abbath

Power Trip - Nightmare Logic

http://www.secret-face.com/

#FOR FANS OF: Thrash Metal

All 32 minutes is quite killer! Awesome riffs, original and catchy. That's what I liked the most out of this release. That and the vocals. Sad what happened to Riley, he was just too darn young. His vocals have an echo sound to them and hoarse sort of sound. They were pretty unique. I think they augmented the guitars. And the guitars were put together in a quite masterful way. I wouldn't change anything about this release. They lacked it a bit in the recording department, though that's my only sense of drawback with the release. But everything else is quite good. The drums went well aside the guitars.

This album could've been a bit longer, but I loved every bit of it. The music is the strongest force here. Not too familiar with crossover metal as I am with thrash metal but they're both meshed together. I liked what I heard though. The riffs are quite technical as hell. They sway all over the place. But it's in a good way, they all have their unique quality to them. Just the leads are a little sloppy, but not that bad. I think if they took out the leads and just kept it to the music itself then I would've given them a higher rating. Nevertheless, a good release from start to finish. That crunch tone guitar is just sick!

As I say, the production quality could've been a little bit better but everything was well orchestrated. They really did an ass-kicking job here. The recording quality just needed a little adjustment, that's pretty much it. In any case, this release just dominated. The vocals were like I said unique and went well with the music. I liked everything about this release except the production. It just needed a step up to it. But the guitar riffs made up for that. I made sure to hear this on digital before anything else. The album isn't that long but it's still pretty good to put on my "to get" list in terms of CD's.

Definitely check out the digital recording to this release and see what you think. I thought that the whole release was killer. But to each to their own. I wouldn't say "caveat emptor" I'd say that it's worth some spins through before you see about getting the actual CD. That is, if it's available. I would say a really strong release here and every minute of it was sick. The guitars are quite technical as hell. That's what's the highlight of this release. Even though Riley died, he left off with an amazing record that will in the thrash/crossover metal recordings that are just sickly. Take a listen to this! (Death8699)

(Southern Lord Recordings - 2017)
Score: 82

https://powertripsl.bandcamp.com/album/nightmare-logic