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venerdì 17 febbraio 2023

Frozen Dawn - The Decline of the Enlightened Gods

#FOR FANS OF: Swedish Black, Dissection
The Spanish trio Frozen Dawn, founded in Madrid in 2006, hasn’t been tremendously prolific in releasing new albums, although we can’t complain as every single opus met our expectations. Since its first album, 'The Old Prophecy of Winterland', the band showed some serious talent and clear ideas. The evolution of this project has been as solid as its music and managed to catch the attention of an increasing number of fans, and finally a deal with an international and respected label as Transcending Obscurity Records. Releasing a new album with a such active label can always be the milestone of a project, in its seek for success and a higher attention. After six long years and, I guess, a remarkable amount of work and dedication, the trio finally released the new opus, 'The Decline of the Enlightened Gods'.

The first thing I would like to remark is the eye-catching artwork, a captivating painting created by the Polish artist Mariusz Lewandowski. I have always said that a good artwork is the first key element to draw the attention of the fans, especially in these times where a ton of new albums overwhelm us. But let’s focus on the most important thing, the music. Frozen Dawn’s music is unmistakably and firmly rooted in the black metal, and more particularly in the melodic black subgenre. The production isn’t particularly clean, or at least it isn’t too polished, something I am quite sure that many fans will approve. Both the vocals and the guitars have a slightly dirty touch, like a particular raw touch that I find quite adequate as it makes them sound heavier and darker, something that the genre should never lose. Musically, the album is an authentic beast. The pace is quite fast and the songs sound truly heavy and relentless. From its very beginning to its end, 'The Decline of the Enlightened Gods' is a real punch in the face. We obviously will find some exceptions, as the title track for example, where the pace is slower in its greater part. The guitars truly shine in these slower sections, even though it must be mentioned that their work is faultless in every single song. The riffing is pure melodic black as legendary bands like Necrophobic (of which you will enjoy an excellent version), Dissection, or early Watain can come to your mind. The aforementioned influences are quite clear in the album opener "Mystic Fires of Dark Allegiance". These raging vocals, the tasteful melodic yet heavy riffs, which lead the song in every moment, and the super solid rhythmic base create an addictive song, which brings us back the best of the genre. Things go even heavier with the second track "Spellbound". A devastating composition with a faster pace yet keeping the omnipresent melodic yet biting guitars. Albeit the pace is generally fast, there are small ups and downs in the pace, which are very precisely and wisely placed small changes through the song. The variations make the composition interesting, as it never becomes a succession of monorhythmic sections that would make it sound too predictable. "Frozen Kings" is probably one of my favourite tracks of the whole album. A particularly catchy melody accompanied by a very headbanging inducing pace, makes it a truly highlight, as this track will remain in your brain from the very first time you listen to it. "Oath of Forgotten Past" contains a great solo guitar, which proves that apart from a relentless dose of incredible riffs, the band also knows to introduce solid solos without making it sound out of place. As you may imagine from this description, each song has something that makes it unique, even though the ingredients are the same in all the album. This proves that a band which has inspiration and works hard, can mix the same elements, and still create compositions with its own personality, although they apparently sound quite similar. The level is very high in the whole album and even the already mentioned cover doesn’t disappoint, as it is a devote homage to the band and the genre itself.

All in all, 'The Decline of the Enlightened Gods' is an awesome work by the Spanish band Frozen Dawn. The full thing sounds inspired, focused, and full of greatness in all its elements. Every single fan of the genre should check out this opus and I wouldn’t be surprised if it appears in may top lists of this year. (Alain González Artola)

lunedì 23 gennaio 2023

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

giovedì 8 luglio 2021

Felled - The Intimated Earth

#FOR FANS OF: Atmospheric Black/Folk
Felled is an interesting project founded in Oregon in 2014. The band was born from the ashes of Moss of Moonlight, a project previously located in Washington, where Jenn Gruningen and Cavan Wagner sang about a hypothetic independent Cascadian land. Felled, now relocated to Oregon, has become a four-piece band, and continues similar conceptual paths, but with a broader connection to nature and paganism. Felled combines black metal with some neo-folk influences, which is not an unknown combination in that area of the country. These neofolk influences usually come in the form of melancholic melodies, making this sort of bands to have a certain somber atmosphere.

In its seven years of existence, Felled hasn´t been particularly prolific, releasing a demo in 2017 only, but the band has finally signed a deal with the respected underground label Transcending Obscurity Records, and releasing in these days the debut album 'The Intimate Earth'. As soon as the album begins with the first track "Ember Dream", we have a clear picture of how Felled sounds. Aggressive rasped vocals domain accompanied along the song by guitars with a raw tone, yet melodic when its needed. The pace varies constantly between fast and slower sections, creating an interesting piece of music. But what stands out is generous use of the violin, an instrument I personally love and that has a brilliant participation in this album. Tiffany’s mournful melodies add the expected neo-folk touch to Felled’s music, not sounding straightforwardly depressing, but with this melancholic tone that a genre like neo-folk usually has. The second track "Fire Season on the Outer Rim" follows similar patterns, even though it adds a greater contrast between the heaviest parts and the calmer ones, including some short atmospheric and folk interludes, which serve as a bridge between the different sections of the song. The addition of occasional clean female vocals, usually done by Jenn, with the help in the backing vocals by Tiffany, also enriches the compositions, which are tastefully composed and executed. As mentioned, the mixture between the raw guitars, which include also melodic riffs, and the violin, create a truly hypnotic atmosphere, which makes you feel the profound connection to nature, specially to the vast and beautiful landscapes that can be found in Oregon and Washington states. The album contains only five songs, but their length is quite long as they have an average of almost seven minutes. This length usually works well with this genre as the compositions need time to expand and create the wanted absorbing atmosphere. Its hard to pick a favourite song, but the album closer "The Salt Binding" is a wonderful way to close this excellent debut. The feeling is strong in this track as the melodies are truly outstanding. The mournful beauty of the riffs is captivating, the violin is as beautiful as you can expect, but the novelty here is related to a more presence of clean female vocals in the first half, which gives a truly unique touch to this song. They sound like a farewell song sung in the middle of distant forest. Moreover, when they are combined with the raspy vocals in the heavier second half of the song, they sound like a storm suddenly appearing in the horizon. This is indeed a classy song to leave the listener totally satisfied with this album.

In conclusion, 'The Intimate Earth' is the remarkable debut album by Felled, which has created a quite emotional release full of great melodies, where the violin has a predominant role, though the rest of instruments, and obviously the excellent vocals, help to create a very recommendable album. (Alain González Artola)


lunedì 24 maggio 2021

Dødsferd - Skotos

#FOR FANS OF: Hellenic Black Metal
The Greek trio Dødsferd is one of those interesting projects, that lives under the long shadow of legendary acts like Rotting Christ or Septic Flesh. Being the Greek scene so rich in terms of quality and quantity, it is particularly difficult to gain some recognition, but this project, founded exactly twenty years ago, has managed to build a long career with some quite good releases. Maybe, they won´t have a particular masterpiece, which could have helped them to reach the top of the scene, but their music undoubtedly deservers our attention.

Having said that, its time to focus on the most important thing, the band´s new album, which is released in the twentieth anniversary of its existence and it should be a representative opus of this current sound. 'Skotos' is the name of the new beast, which is unfortunately a short EP of two songs, being extended by the previous full-album 'Diseased Remnants of a Dying World' as a bonus track. In any case, our attention goes for the new pieces. This stuff is firmly rooted in the black metal genre, which will not surprise its fans, though we are talking about a band that has experimented with DSBM or black/punk influences during its career. In contrast to its predecessor, 'Skogos' contains clearly shorter songs that get to the point. "Skotadi" is the EP opener, and it is a furious piece, whose pace varies between remarkably fast sections and a few slightly slower ones, but with a clear predominance of the speediest sections. The mixture is done quite well as the mid-tempo parts give us the chance of headbanging a little bit. This is traditional black metal as its best, with a tremolo main riff, that gives a hypnotic touch to the song. The vocals are vicious and high-pitched screams, nothing new, but they are solidly performed. The second track, "Cursed to Die at First Light", follows quite similar patterns, as it is another fast track dominated by a relentless rhythmic base. It also contains a tasteful main tremolo riff in the speedy sections, and a slightly more dissonant ones in the slower parts, which are nevertheless combined with more tremolo riffs here and there. One aspect I like is how audible the bass is, something that sadly doesn´t happen many times.

'Skotos' is a good release, which doesn’t offer anything new, but it contains two very enjoyable tracks that makes us expect more stuff, which sadly doesn´t happen. Let´s see if Dødsferd can release a full album with the same characteristics, even though a greater variety would be welcome. If not, the first positive impression would be ruined in case that we have a bunch of songs, that follow exactly the same structures and main characteristics. (Alain González Artola)


(Transcending Obscurity Records - 2021)
Score: 69

https://dodsferd.bandcamp.com/album/skotos-atmospheric-black-metal

domenica 21 febbraio 2021

Crypts of Despair - All Light Swallowed

#FOR FANS OF: Brutal Death Metal
Even though the Lithuanian scene is not one of the most well-known ones, it has always delivered some interesting bands. Personally, I had some previous experience with some black and doom metal bands, but this time is the moment to discover one of those obscure bands that plays a clearly more brutal style. Crypts of Despair is a four-piece founded almost twelve years ago, though the band required almost a decade to release its first effort entitled 'The Stench of the Earth'. This was a self-release with a good quality that made possible that the always prolific underground label Transcending Obscurity Records showed interest in them. So, thankfully we did not have to wait so much time and after three years, Crypts of Despair are going to release its sophomore effort 'All Light Swallowed'.

Crypts of Despair plays death metal with a modern and clearly brutal touch, although it doesn´t reach the level of relentless speed and brutality to be tagged as brutal death metal band. Anyway, the ferocity of its sound is out of discussion. 'All Light Swallowed' has a very strong production, dense and profound, which sounds totally professional and fits the style of the band. Stylistically, as said, this is a pure death metal with a modern touch as the guitars have a distinctive disharmonic touch, that makes them sound more chaotic and smashing. Here we can find two tips of vocals, deep growls combined with more high-pitched ones. Anyhow, the first ones have a greater room, but the combination of both is always an interesting touch of diversity. The album opener "Being-Erased" is a clear example of it, with maybe a greater presence of the screaming vocals in this case. This first opus is one of the fastest of the whole album, albeit it has some nice changes in the tempo, especially in the second half with the inclusion of some mid-tempo and even slower parts. This diversity of pace is a constant touch, even if we can always expect the speedy fury so common in this genre. In any case, Crypts of Despair likes to make a clear contrast between the sections full of blast-beasts and the much slower and heavy parts. We have plenty of examples like the excellent "Anguished Exhale" and "Synergy of Suffering", where the song evolves abruptly from super-fast sections to mid-tempo ones, and in these parts the double-bass sounds absolutely smashing. No one can deny that Crypts of Despair tries to extract all the potential from this formula and they actually do it in the right way, creating songs with an undeniably crushing sound and strength independently of the chosen pace. The album flows between tracks with this aforementioned formula, where the songs, whose structure maybe doesn’t differ that much, achieve a very effective combination of rhythmic changes, making this album a fun listen.

All in all, 'All Light Swallowed' is a super solid death metal album from a band that has done a good step forward in terms of production and refinement in its compositions. A refinement done to achieve a focused brutality, that will satisfy fans of modern death metal done right. (Alain González Artola)


venerdì 18 dicembre 2020

Revolting - The Shadow at the World’s End

#FOR FANS OF: Swedish Death, early Entombed, Edge of Sanity
The Swedish metal scene is undoubtedly one of the most prolific ones in almost every subgenre of this music. Moreover, if we speak specifically about death metal, no one will deny that this Scandinavian country has given to us some iconic bands, both in classic death metal and also in the more trendy melo death, with some notorious examples that we all know. It was during the '90s, when some bands forged what was a particular form of death metal, being its influence in the scene undoubtedly huge. From that time and including some highs and downs in the popularity and level of inspiration of the scene, new bands appeared playing this iconic form of music, staying loyal to this particular sound. The Swedish trio Revolting is one of them. The band was formed in 2008 and has maintained a very stable line-up, being quite active as the band has released seven albums, including the new opus 'The Shadow at the World's End'.

As mentioned, Revolting plays death metal in its purest essence. There is no need to add more adjectives like melodic, brutal o technical. Revolting's formula is clear and honest, and it includes all the main and expected features of the genre, including profound growls, a pretty heavy and strong wall of guitars, and a consistent rhythmic base. The new album doesn't differ from this formula, so if you want some great surprises or novelties, you will feel disappointed. On the contrary, if you want some strong stuff with the aforementioned characteristics, 'The Shadow at the World’s End' will be an album that you will enjoy for sure. This work is iconic also in its artwork, with this mysterious and dark painting depicted in the cover album, which I consider excellent. Starting from the opening track "Defleshed", you will notice that the band´s sound is totally linked to the genre core aspects. Rogga’s vocals are excellent with super consistent growls, exactly what the genre requires. Both the guitars and rhythmic base have a powerful and clear sound and thanks to the good production, they are very distinguishable. The guitar work is excellent, being equally crushing and diverse when it is needed. I would like to mention that some short, yet melodic solos are also introduced, giving a melodic touch to the overall dense sound of the band. Pace-wise the band’ compositions flow between mid-tempo sections and some faster or slower sections, but never falling into ultra-speedy sections, so typical in the brutal death metal scene. The cadence here always calls for a good session of headbanging. The second track, "1888", is a good example of it, varying from slightly faster to mid-tempo sections and some slow and super heavy sections, where the band sounds particularly well. "Dragged Back to the Cellar" is maybe more representative of the general pace of the album, being generally faster, but with a slower final section which sounds great. Apart from it, as said, the album has a slightly faster pace but with a controlled speed, giving room to implement some great riffs, the expected crude aggression and lite melodic touches here and there.

In conclusion, 'The Shadow at the World’s End' is a pretty consistent album, it won´t break the scene but it is a good addition to the band’s career and will please any fanatic of old school death metal. (Alain González Artola)


mercoledì 16 dicembre 2020

Sarcoptes - Plague Hymns

#FOR FANS OF: Black/Thrash
California-based duo Sarcoptes was one of the biggest surprises of 2016 with its impressive debut entitled 'Songs and Dances of Death'. This debut came after some years of existence where the project only released an EP called 'Thanatos'. It took a decade, but this duo was able of releasing a collection of songs with a remarkable quality. Personally, I have never been a great fan of thrash influenced by black metal, but this project combined both genres with an indisputable inspiration, creating songs which were a truly riff fest. Furthermore, they introduced some symphonic influences, which never overshadowed the metal side of the music but complementing it, giving an epic touch to its compositions. All these ingredients where the perfect match to release which was an acclaimed debut.

As it has happened earlier in its career, Sarcoptes has taken its time to compose new songs in order to take the necessary time to compose new songs with the highest standards of quality. The result of this work is a new EP, which should serve as a presentation of a very awaited sophomore album. 'Plague Hymns' is the name of the new beast and it comes with two new songs. Firstly, the production seems to have made a step forward in terms of strength in every single aspect, but more importantly with the drums, which sound more consistent in terms production. All the other aspects like vocals and riffs sound as powerful and clean as expected, but step forwarded as well in terms of quality and strength. In contrast to the debut, I would say that guitars and drums are slightly more prominent than the keys this time, but thankfully not shallowing them completely, something I had initially feared. I love more prominent atmospheric arrangements, but this balance is also objectively satisfying. Regarding the compositions, the fusion between black and thrash metal riffs is still there, being merged once again in a very tasteful and inspired way. The initial song "The Vertigo Soul" sounds as fast and brutal as the heaviest songs of the debut album, but it still maintains the richness in terms of pace variation and the range of riffs, which are more melodic or more extreme when it is needed. No one can deny that these two guys know how to compose extreme metal songs based on a top-notch guitar work and ferocious drums. Garret’s vocals are also excellent this time with his raspy tone fitting the music very well. On the other hand, Sean’s work with the keys and symphonic arrangements (as well as for the guitars) is excellent, with maybe a slightly bigger range of sounds and influences. This is good because this work to find a greater variety in the atmospheric arrangements is a key factor to improve the overall sound of the band. The second song, "La Moria Grandissima", follows the same basic patterns of the EP opener, but thanks to its longer length it has a greater room to introduce a more epic tone which sounds simply wonderful. Sarcoptes has indeed shown that it knows how to create long and epic songs yet keeping a great balance between fury and grandeur.

'Plague Hymns' is undoubtedly an excellent EP and maintains Sarcoptes as one of the most exciting new bands of the extreme scene. I can't wait to listen to their second album, because if they can, at least, maintain the same level of quality, it will be a masterpiece.  (
Alain González Artola)

(Transcending Obscurity Records - 2020)
Score: 83

https://sarcoptesblack.bandcamp.com/album/plague-hymns-black-thrash-metal