Affliktor - S/t

#FOR FANS OF: Black/Thrash

US American black thrash? Well, let's give it a try, even though it is only one guy that runs this project called Affliktor. Once there was a time, when a musician played guitar, bass or drums (and the keyword in this sentence is "or"). Today guys like Toby Knapp, the man behind Affliktor, plays the formerly unknown instrument namely "everything". Sometimes one can enjoy the work of a multi-talent, but mostly this is not the fact. Knapp does not belong to these guys which have been blessed with an overdose of abilities. Perhaps he understands the techniques, but he is not able to evoke any kind of emotions. In other words: the songwriting does not belong to his strengths. Due to whatever reason, he is not able to write pieces that are more than fairly structured noise.

The pieces want to be metal and the basic ingredients like screaming guitars, a malignant voice and a solid rhythm section are not missing. But I don't think that Knapp himself has an idea about what he is actually doing. I do not need necessarily a traditional verse-chorus-verse pattern, but to begin somewhere and to stop somewhere alone does not make a song. The voice lacks charisma and all of you who thought that black thrash has something to do with filth and behaviour, will be disappointed. Affliktor is aggressive, but the songs do not convey this feeling of dirt that ennobles the good albums of the bastard genre. Even worse, the aggression is not bundled. Logically, this feature alone is not enough to leave an impact.

The songs also have no organic flow. For example, listen to the nerve-shattering guitars at the beginning of "Chaos Magick Totality", the staccato riffing and the unnatural change to blast beats-compatible drumming. I can see no sense in this. The unauthentic nagging crowns the outbreak of futile terror. "Born to the Breeder" marks another example of sonic cruelty. Whenever Knapp has a good idea, he is not able to profit from it. Everything ends before it has really begun, for example in the solid riffing at the beginning of the aforementioned title. The inevitable finally happens: the entire song is going nowhere.

If I had the might to stop the release of albums like this one, I would use it immediately. But no one stops guys like Knapp that flood the market. Okay, the album is more or less well produced, but this alone is no reason to put it on the turntable, if I am not mistaken. The songs themselves suck and that's the crucial thing here. Especially the solos are an annoyance, because they add absolutely no value. Their emotionless dissonance sucks. Sad but true: I am sure that Knapp does not lack enthusiasm, but this album fails the test. Recommended to all of you who see no sense in being a metal freak any longer. (Felix 1666)

(Transcending Obscurity Records - 2017)
Score: 40

https://affliktor.bandcamp.com/

Paganizer - Land of Weeping Souls

#FOR FANS OF: Oldschool Death Metal, Dismember, Grave

With an oldschool Swedish death metal sound and the experience to provide it, Paganizer brings the bassy and unhinged pummel reminiscent of bands like Entombed, Grave, and Dismember. Cavernous vocals, short thrashing guitar licks, prominent and cascading leads, and immense primitive snare rattling and bass stomping create the energy of a brisk naked scramble down the 'Left Hand Path' on the third day of a methamphetamine binge as the spiders start eating you flesh away.

The soloing at the end of “Dehumanized” is face-meltingly electric as it tears through a raucous rhythm that thrashes as much as it stomps to the slamming rhythm of a tribal drum. A bloody-knuckled fist of frustrated energy caged between the guitars, snare snaps against riffs in the hopes of escaping its strict confinement. Yet in the oldschool fashion of chaining the snare while allowing the bass pedals to take off running, there is no relent to the walls of harmonizing treble as guitars create staggering walls that no broken nail may scrape its way up. Screaming with such speed, the great catchy melodic opening riff to “Forlorn Dreams” is beaten into step by an intense uptick in snare hammering. The harmonious lead riff winds its way through this slowest and longest song on the album to create a cavernous backdrop for shrill soloing to complete the performance.

When it comes to this bass-heavy production, the lead guitar is very loud in the mix. With riffs that amble through dank corridors that Demilich so comprehensively explored, very samey movements in songs like “Soulless Feeding Machine” and “Prey to Death” become a downright annoyance when you realize that, despite all the personality of the early tracks, the rest of the catalogue is having a tough search for interesting ideas. Sadly, this is one of those albums that has a great start but can't sustain that freshness and momentum throughout a full-length. That is the unfortunate downfall of “Land of the Weeping Souls”. Sure, souls weep through every shade of sadness and despair in this album as the title track chokes out small solos and rhythms rail against their cage in thunderous cadences, but the momentum becomes a forced slog in the second half of this half hour. While there are moments in “The Bured Undead” with its rising solo, the rhythm is far less catchy than in “Forlorn Dreams” and, alongside “Soulless Feeding Machine”, sounds like a halfhearted attempt to grasp the power that “Forlorn Dreams” had hooked the listener in. Though the back catalogue of this album has its merits there aren't many truly momentous moments that propelled a song into its full tilt to strongly follow the forceful openers.

Paganizer's 'Land of the Weeping Souls' is a solid album from an obviously talented and experienced band. Its initial blast surely creates a destructive shock-wave. However, the wave tapers off, and though the back catalogue of Paganizer's “Land of the Weeping Souls” can still sate a Swedish death metal blood-thirst, it doesn't incredibly shake its way down to the fault lines that could move enough Earth to make one's suffering truly legendary. (Five_Nails)

(Transcending Obscurity Records - 2017)
Score: 70

https://paganizer.bandcamp.com/album/land-of-weeping-souls-death-metal-2

Sepulchral Curse - At the Onset of Extinction

#FOR FANS OF: Death/Black

This short four-track EP by a burgeoning Finnish blackened death metal band shows a well-rounded songwriting approach and a great handle at conjuring imagery through its lyrics. For a band so wet behind the ears, it's great to hear such focused sound that fits its theme like a glove. Sepulchral Curse isn't exactly reinventing the wheel here but the band is offering some satisfying and unique sounding death metal with a couple of black metal accouterments.

Right out the gate in “Envisioned in Scars” the mix of Gothenburg and black metal harmonies joins the cavernous calls of a throaty guttural to create an impactful ensemble that reaches beyond what's expected in your average blackened death metal. The imaginative lyrics and moments of unusually bouncing drum beats keep the song's cycling fresh and aids the rising intensity of the winding guitars. At times this EP sounds like it's channeling the likes of In Flames for direction as a riff like the rising “In Purifying Essence” uplifts an opening that ranged from metalcore moments reminiscent of Shadows Fall and As I Lay Dying tapping into thrashier roots to cavernous neck-breaking riffs similar to Dismember. The biggest drawback to 'At the Onset of Extinction' is too much blending at times in the guitars, making it difficult to fully appreciate them behind the prominent drumming and overpowering vocals. Even with that small problem, the drums are easily audible and their rapidly changing time signatures keep a firm grounding to the winding riffs, like when “Gospel of Bones” wails above moments of oldschool death metal churning to the frantic pace expected from black metal's urgency. The lyrics to the final song, “Disrupting Lights of Extinction” make mentions of a certain Countess that we all know and love in as much of a wink to the audience as a display of remorseless horror to be inflicted upon a hapless foe. The band is good and self-aware as well as unusually adept at drawing the listener into its intense theme without losing focus on a solo or throwing a change-up that takes you out of the moment.

In all, Sepulchral Curse has a good handle on songwriting, creating some unique guitar moments that stand out with their Swedish death metal segments. The drumming is top notch and the vocals fit the theme of this EP precisely. The band could tighten up some of its more drawn out openings that tend to repeat a few times too many and definitely needs better recording equipment, but that doesn't take away from the quality effort that has been shown in this release. (Five_Nails)

(Trascending Obscurity Records - 2016)
Score: 75

https://sepulchralcurse.bandcamp.com/album/at-the-onset-of-extinction-blackened-death-metal

Altar of Betelgeuze - Among the Ruins

#FOR FANS OF: Stoner Death Doom, Reverend Bizarre, YOB

Altar of Betelgeuze is an unusual group. Mixing some aesthetics of death metal with slower paced doom and grunge, this Finnish outfit creates an impressive and unique sound that is as dark and full of foreboding as it is a captivating and crisp adventure into a stoned drone zone.

Like a ship floating through deep space, Altar of Betelgeuze fits their consistent and gradual pace between Reverend Bizarre playing 'Burn in Hell' and YOB playing 'Quantum Mystic'. However, this band is quite contemplative in where to expound upon each movement and shrewdly bounces a change across the entire ensemble rather than jettisoning one element far out into the void. The doomy stoner sound has me thinking of slower style Sabbath songs like “Hand of Doom” or “Planet Caravan” with prominent guitar riffing that has that bluesy Iommi feel. Altar of Betelgeuze elaborates on this hypnotic structure with a mix of clean vocals reminiscent of Layne Staley's delivery in Alice in Chains and moments of growled vocals. “Sledge of Stones” stands clearly at the forefront as a single that could get plenty of airplay with an addicting rhythm, a great chorus, and guitar tones bringing diminishing gravel to uplift the lead guitar's contradicting melody. Escaping the grumbling dirge for a fleeting moment and halted at its apogee, the guitar is reeled back quickly as though spacewalking while tightly tethered to the main vessel. Growls are used sparingly in songs like “No Return” and “New Dawn” to balance with the higher cleans and though such a combination is a noticeable difference from the era, I could be convinced that much of this album had come out in the early '90s. The real focus in Altar of Betelgeuze's muddy rumble is their Sabbath-worshiping riffing with a grunge aesthetic like in “Absence of Light” that sounds as improvised as it is reveling in the amplified resonance. The band can riff with the best of them and the title track shows it with expertly crafted movements that harmonize in atonal resonance while a thick kick thunder urges on the guitar crash.

If you just sit back and let the journey take you, Altar of Betelgeuze will whisk you away with their crunchy guitar chugging, rattling bass guitar, and atmosphere thick with a deceptively lumbering drum gait stepping slowly to a haunting cadence. (Five_Nails)

(Transcending Obscurity Records - 2017)
Score: 80

https://altarofbetelgeuze.bandcamp.com/

Rudra - Enemy of Duality

#FOR FANS OF: Black/Death

Count me in as pretty impressed. Rudra made a big impression on me on 'Kurukshetra'? Think it was that one. Back then I was an 18 year old belatedly getting into extreme metal who was blown away by just how different it sounded. These days I'm much harder to please, but to my surprise, I found myself digging this album just as much.

I reckon the obvious comparison here would be Nile. I mean they don't exactly sound all that alike, but Rudra's thrashing, often death-ing metal has a lot of similar hallmarks- namely a dedication to going for exactly one and one vibe only, fascination with a bunch of old, dusty things and a tendency to use the same scale over and over again. The ancient, mystical culture they're trying to invoke is just a bit further east, that's all.

And they're really good at it. It's arguably a team effort - the guitarist throws out a lot of pretty decent riffs - but it's really a percussion and vocal based thing. The vocals - this big midranged snarling thing, growling away in a bunch of languages and really adding a powerful, rich, very fierce vibe to proceedings. There's this tendency in tracks like "Hermit in Nididhysana" for him to get into a fairly repetitive, ritualistic mood and it's freakin' great. All up it's those moments - much of "Hermit", the epic closer and "Roots of Misapprehension" to pick a few examples - where Rudra are at their finest. They can do fairly decent, crunchy death metal but it's when the drums start getting increasingly off beat and things get a bit trancey that the band takes off and things get really fun.

There's a few nit-picky criticisms, perhaps - the production could certainly be a bit beefier, and the bass is reduced to a rumbling somewhere in the distance, and a few of the riffs, particularly earlier in the album, are a bit weak. I really like this album, but you certainly get the feeling that if Rudra just went a bit more off the deep end - a few more far-out parts, and perhaps a more intense riffset at times - then you'd really have an all-time band on our hands.

As it stands though, I'm still playing this regularly a month or so after the initial promo download, which says a lot. Well worth your time, 'Enemy of Duality' is definitely a quality album. (Caspian Yurisich)

(Transcending Obscurity - 2016)
Score: 80

https://rudrametal.bandcamp.com/

Soothsayer - At This Great Depth

#FOR FANS OF: Black/Doom

Leaping lizards! I'm baffled! How can a band release a thirty six minute long EP comprised of three tracks, then follow up a year later with a "full-length" debut limited to just two (yes, 2!) tracks which add up less than a half-hour?! Well, these are precisely the mysterious steps taken by an enigmatic outfit from Cork, Ireland. Say hello to Soothsayer as it plods along a bizarre and forlorn voyage on the far-out fringes of doom metal, namely atmospheric doom for lack of a better term. Released yesterday under Transcending Obscurity Records, 'At This Great Depth' is comprised of a mammoth, sixteen minute-long track, "Umpire" (which bears no relation to Major League Baseball) and a half as mammoth track, "Of Locusts And Moths", clocking in at eight minutes. Needless to say, there's only so much I can recount in regards to this unquestionably odd full-length debut, as much by its brief duration as musical queerness. Then again, nothing's too bizarre or avant-garde for those who take the much less travelled road which is this little known doom sub genre. While it's definitely not my cup of tea - I prefer upbeat, hard-driving doom - I see its appeal as it sets the tone for a melancholic yet cosy mood/state-of mind while also making for interesting background music to introspective thought processes. However short, this release is aptly titled as it does indeed make one feel like they're submerged underwater. Imbued with dark and mournful undertones, "At This Great Depth" unfolds at a snail's pace. The band mates pour heart and soul in their respective vocations, from a tribal driven Will Fahley on drums, Steve Quinn with his glum, spaced out bass lines, or guitarists Marc O'Grady and Con Doyle who manage to coax an intense gallimaufry of discordant and unorthodox sounds out of their instruments. Considering the genre at hand, it's unsurprising druid front man Liam Hughes pops up late in the game, lazily integrating himself with the sporadic musical experimentation at hand. "Umpire" really does make one feel like they're slowly sinking towards the Ocean floor, away from the bright, dry comfort zone of every day life. (Hence my irrepressible impulse to re-surface thirteens minutes in, which is a heck of a long time to hold your breath!). Nevertheless, I'm impressed no keyboards or artificial sounds were employed in the making of this production. The entire affair is rendered with standard heavy metal equipment. It's rather the apparent abuse Hughes subjects his vocal chords to which is unforgivable (yet thankfully forgettable). His spastic nothings can be described as an unsettling cross between a hiss and a screech. Any kind of lyrical clarity is nonexistent, while the bass playing and drumming doesn't quite amount to a comprehensive and steady rhythm section. In fact, they sound like nothing more than thunderously irregular accompaniment. In general, the spotlight (er, dark light?) is placed on Hughes and the guitarists. To sum this up and avoid a tedious, thousand word play-by-play, I'll simply place At This Great Depth in the realm of well established atmospheric doom who'll probably enjoy this recording if only for its esoteric nature. To Soothsayer's credit, the desired atmosphere - one of a cold numbing grace - has been adequately achieved. Unfortunately, it also lacks any kind of memorable passages or singular musical thrills. Therefore, I strongly urge "regular" doom and/or heavy metal fans to tread lightly when giving this release a cursory listen. Adventurous as it was, one glacial plunge was enough for me. Proceed with caution. (Eric Moreau)

(Transcending Obscurity - 2016)
Score: 45

https://soothsayerdoom.bandcamp.com/