Living Inferno - A True Believer

#PER CHI AMA: Black/Death, Unanimated, primi Entombed

Nati sul finire del 2019 (sebbene The Metal Archives riporti ufficialmente 2020), i finlandesi Living Inferno trovano il debutto in questa seconda metà del 2021 con un EP di quattro pezzi, 'A True Believer'. Il trio originario di Seinäjoki, ci offre quattro song davvero intriganti che si rifanno al death black svedese, quello di Sarcasm e Unanimated, giusto per capirsi, ma non solo, abbiate fiducia. Il tutto è immediatamente chiaro quando si aprono le selvagge melodie della title track, tanto brutale quanto melodica nella linea della sei corde, quasi a rimembrarmi i mai dimenticati tempi dei Dissection, in cui c'era sempre una splendida chitarra a guidarci nell'ascolto, quasi come Virgilio ad accompagnare Dante all'Inferno. Rispetto alla proposta dei colleghi svedesi, quella dei Living Inferno sembra apparentemente più accessibile, ma vi garantisco che troverete grondante lava proveniente dagli inferi anche nelle note davvero sublimi, epiche ed evocative di questo lavoro. Ottima la prova vocale in growl di K. Nyman, cosi come quella di ogni singolo strumentista, incluso lo stesso K. Nyman alla chitarra che duetta spaventosamente bene con J. Kormano, in un susseguirsi di fughe chitarristiche che ci conducono attraverso la cupa e controversa "Ashes in the Cosmic Wind" (forse un po' caotica a tratti ma con un assolo davvero azzeccato e con addirittura l'uso di clean vocals), la mefistofelica "The Living Inferno" con quei suoi suoni più retrò (anni '90 direi) che sembrano miscelare il devastante stile dei primi Entombed con il black ed un finale affidato a "Sodan Alttarilla", una traccia spettacolare che a tratti sembra voler evocare i Morbid Angel in una mortifera ed originale versione melo black. Raccomandatissimi. (Francesco Scarci)

(Self - 2021)
Voto: 75

https://livinginferno.bandcamp.com/album/a-true-believer-ep

Dolorian - When All the Laughter Has Gone

BACK IN TIME: recensione gentilmente concessa da Nihil Zine

#PER CHI AMA: Black Doom

Un black-doom molto cupo e glaciale, introspettivo e delirante; la depressione accompagna tutta la durata del dischetto di questo ottimo gruppo finlandese. Le note si susseguono lentamente tracciando oscure melodie cadenzate da un ritmo tedioso e da atmosfere desolate, interrotte dalle screaming vocals genuinamente fredde ed angoscianti (per nulla paragonabili a quelle di certi pagliacci travestiti da vampiri). La sensazione è quella di una profonda riflessione circa la precarietà dell’uomo di fronte all’esistenza e all’accettazione della morte come unica prospettiva. Le sette tracce costituiscono sicuramente un insieme omogeneo e ritengo sia superfluo parlare dei singoli brani. Questa è una vera e propria opera d’arte, struggente ed intensa come solo pochi eletti possono concepire. Vivamente sconsigliato agli incalliti ascoltatori di Cradle of Filth e roba del genere.

(Wounded Love Records - 1999)
Voto: 75

https://www.metal-archives.com/bands/Dolorian/

Narcotic Wasteland - Delirium Tremens

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

#FOR FANS OF: Death Metal

Pretty technical album here within the realm (sort of) bands such as Archspire, Dying Fetus, Exhumed, you get the picture. This release doesn't seem to let up in intensity. It's got the makes of Nile in here within another influence, but these guys amongst all have their own sound. Don't get overwhelmed with the complexity, eventually it'll make sense into the aim/direction these guys are headed! Way underground metal, but the riffs are well constructed and the solos in the tinge of anti-monotony (to say the least!) Very gifted band! They tear it up from all different aspects. Just in one word: INTENSITY!

I'm surprised this isn't a well known band being that they have no press here on their debut and this one. I'm breaking the ice to tell you that these guys are worth an hour of your airtime in a day. When I heard this, I was blown away. So many great moments! It's hard to go wrong with this release, these guys are on top of technical playing in death metal. Great musicians and riffs, they are in the superior realm! I tell you, this is one of the releases I've heard this year that's been out for a little time that I'll keep going back to! Top quality musicians and these guys mean business in brutality. Reminds me a lot of the latest Dying Fetus.

Production quality was superb and the instruments/vocals seemed to be well fitting for the release. What's next after this, I wonder...of course I have not heard their debut, but I'm guessing it's something to this effect. They do a lot of experimenting on here too. It's molded into death metal though they volunteer some clean tone acoustic guitar playing too (a small tinge). For most of the album you get a little variance of fast playing to more mellow but still brutal tracks. I'd have to say that more people have to hear this. The vocals (coming from 3 avenues) is palatable. It seems to mesh into one on that front.

I really encourage people into death metal to check these guys out. Especially this one since the debut me (not in precedence) make you forewarned. It's a quality, innovative and fresh release here. One of my buddies did play on drums for (I believe) the debut. Support this band and order the CD (if you still have a CD player). It's got so much variety and the musicianship is top notch! These guys are tops with me! Very well played out and it shows you that death metal musicians have so much to offer the metal community! Hoping to hear what they have coming up next! (Death8699)

(Self - 2017)
Score: 78

https://www.facebook.com/narcoticwasteland

The Decemberists - Florasongs

#PER CHI AMA: Indie/Folk

Se non fosse che Colin Meloy abbia candidamente dichiarato che questo 'Florasongs' rappresenti nient'altro che una manciata di outtakes di 'What a Terrible World, What a Beautiful World', questo EP suonerebbe alle vostre orecchie proprio come una manciata di outtakes di 'W-A-T-W'. Non è così, naturalmente, ma solo per causa della vostra innata bastiancontrarietà. Impossibile individuare incompatibilità tematiche, come invece accadde per l'EP 'Long Live the King' successivo a 'The King is Dead', dal momento che 'W-A-T-W' non è un concept. Troverete invece una manciata di canzoni altrettanto limpide, scartate da 'W-A-T-W' forse solo perché troppo simili ad altre ("Why Would I Now?"), oppure troppo differenti ("Fits & Starts"), oppure ancora perché troppo a metà strada tra il troppo simile e il troppo differente ("Stateside"). Cinque canzoni, diciannove minuti: una facciata di vinile. Prendete dallo scaffale la vostra copia di 'W-A-T-W', estraete il secondo vinile, quello con il lato B serigrafato invece che inciso. Bene, ora ascoltate questo 'Florasongs', interrogandovi nel frattempo sul significato di tutto ciò. (Alberto Calorosi)

(Capitol Records - 2015)
Voto: 68

http://www.decemberists.com/

At The Gates - The Nightmare of Being

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

#FOR FANS OF: Swedish Death Metal

A 5-piece still and I'd say a way overrated album I don't care what Decibel said about this. It has the roots in melodic death metal, but none of the riffs really struck me as awe-inspiring. They were pretty generic and a good portion of clean tone guitar-work. The vocals aren't that swift and I really think that they're not hacking it anymore. 'At War With Reality' wasn't that great either. I prefer 'Slaughter of the Soul' and they've had gaps in their remaining together or not. I think that they should just hang it up. There was nothing on here that took me aback as to saying "wow, what a milestone." Nothing of that sort.

I guess I just feel that they lack the intensity and originality of the old. Really, I though this was a mountain of poor musicianship. I'm not hearing tints of the old, I'm hearing generic of the new. They're not hacking it and I think that pretty much none of the riffs hold weight in my brain. The intensity is not there nor is the songwriting capabilities. I thought that maybe the vocals would've been good as well but they just lacked balls on the whole of this LP. I was hopeful when I bought this given that Decibel had a hold on this then looking at the scores that I madly disagreed with wholeheartedly.

The production was decent, but to a shadowing cloud of dismay and dismantling. The fire is gone, I'm not hearing it. It should be among the realm of melodic rock 'n roll. They seem to not be really metal at all, just gearing more of what Opeth did with their career. Not as bad here though but that's the direction that they seem to be. What a letdown. I wasn't overzealous when I played this in my car the whole way home. I had to put Deicide back on because At The Gates made me disturbed with their latest creation.. It is just piss-poor of a release and a disenchanting, disheartening platter of melodic crap.

Draw your own conclusion to this release. Maybe listen on Spotify or YouTube and see if this is for you. If you're thinking At The Gates of the old, think again. It's really nothing of what the critics are saying such as "best album of the year" or thereabouts. I wish I could've said nice things about the release but the music was just pitiful. If you're asking why would I think that well it lacks intensity of the old and weaves in the generic of the new. Way way overrated album it's nothing like what's been described even to the ones who think that they're giving it a chance in the metal world. Caveat Emptor! (Death8699)

(Century Media - 2021)
Score: 65

https://www.facebook.com/AtTheGatesOfficial

Runespell - Verses in Regicide

#FOR FANS OF: Pagan Black Metal

Runespell is one of those solo projects with an obscure origin. It was founded in Australia some years ago, by a quite active musician known as Nightwolf, who has been an active part of the local black metal scene. He was a member of projects like Drowning the Light or Necrostrigis in the past, among others. Currently, he shares its time between Blood Stronghold and Runespell. The second one is his best-known project, thanks to a quite solid discography and the exposure given by the fact that he signed a early deal with Iron Bonehead Productions, which has released all his albums so far.

Runespell plays pagan black metal with a raw nature, but at the same time strongly melodic. Music’s rawness principally comes from the production as it is far from being over polished. The vocals sound distant and dark, but not buried in the mix, which is maybe one of the most classic characteristics of tradition black metal. The instruments sound well-balanced, and they have a quite natural, if not “warm”, feeling, like if the songs had been played live as they seem not to have excessive adornments in the production and mixing. I think this is a good point as this kind of music sounds more authentic when it doesn´t sound too packed and artificial. Contrary to some other pagan black metal bands, which have a quite more upbeat sound, like a heroic march towards the war, Runespell’s music has a slightly darker approach as it is perfectly depicted in the excellent album cover art. In any case, the melodic touch of the guitar gives to the compositions the expected epic touch for bands that are influenced by medieval times. So, what we can find in this album is a very well achieved balance between darkness and light, perfectly executed in the very interesting five tracks included in 'Verses in Regicide'. We can also listen to two short, beautiful instrumentals songs with a quite strong melancholic and interesting atmosphere, that serve, in the case of the piece "Windswept Burial", to close this quite enjoyable album. The album opener "Structures of Collapse" is one of my favourite tracks, as it creates the appropriate mood to enter the album with a great initial section, that gains in intensity until the rasped vocals and the excellent guitars make a furious appearance. The initial rapid pace is modulated by a quite variable pace with its ups and downs in terms of speed. Nevertheless, the main role is for the excellent riffs with its strongly melodic nature that leads the song all the way through. This melodic excellence is kept in the following song called "Vengeance Reign", which has an opposite evolution in its structure. The first part is a mid-tempo composition with a quite up-beat main melody, until a clear change comes in the second half with a clearly faster approach. Pace-wise, this album has its variations, although Runespell seems to be more comfortable in the mid-tempo sections, where the melodic nature of its compositions can shine in its full glory as we can appreciate, among other fine examples, in the longest composition "Tides of Slidhr". Fortunately, the pace changes are appropriately place here and there to avoid this feeling of be listening to the same song all the time. Apart from that, the energetic nature of the riffs makes the songs to have an extra point of interest regardless of the pace.

In conclusion, Runespell’s 'Verses in Regicide' is a very good album of pagan black metal. The raw production contracts with the strongly melodic nature of the compositions, even though the combination is excellently done and the final result sounds robust and credible. (Alain González Artola)

(Iron Bonehead Productions - 2021)
Score: 80

https://ironboneheadproductions.bandcamp.com/album/runespell-verses-in-regicide

Morta Skuld - Suffer For Nothing

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

#FOR FANS OF: Death Old School, Obituary

A tinge of Malevolent Creation sounding type of gig here, though the guitars are lower but equally strong. I liked this whole album, especially because it's an old school death metal vibe to it. Wisconsin based Morta Skuld have played alongside Death, Obituary, et al and they've been into the scene since 30+ years ago! I had the privilege to see a live performance of this for this album. They can definitely pull it off live! The album is a bit short, not even 40 minutes but it still packs a punch, to say the least! Decent sounding recording as well, definitely one of the better bands in this old school death metal genre that's still around.

Sounds like they tune pretty low, maybe B or C which gives it that thick heavy tone. The leads are pretty tight too. But mostly the riffs are what holds the most weight to it. People say the drummer uses triggers but maybe, it still sounds good. Maybe so to keep up with the guitars. I'm still not marking off points to this album if that's true. I think that they worked hard on this one, Wisconsin based death metalers pack a punch. And the vocals go well with the music. I thought them pretty powerful live but that's of little relevance as to what is that which we're dealing with here in this recording.

The production quality was pretty spot-on. I thought it to be really powerful of a performance i.e. the entire recording. The lyrical concepts were something that I do omit in writing about since many bands are piss-poor at writing lyrics when the music itself is good. So this is beyond the scope of this album review. Judge for yourself when looking at the lyrical concepts. I thought that they killed it entirely musically-wise. The guitars and drums are what stuck to me, not so much the vocals. Though they resemble a little bit of Brett Hoffman (RIP) via Malevolent Creation. Though they have their own twist to them.

I listened to this one on Spotify first before I purchased the album. It was definitely worth it! These guys knock how to kick ass when it comes to songwriting. I like their vibe and I got the same when they played here live. Definitely a talented band. And the music is intense. I think they have many more recordings in the works. Towards the end of their tour here in Covid-19, I believe that their next platter will pack another punch to it! I hope that it's as good as this one maybe even better! I'll keep a watch out for this band. They've definitely hit to a liking to them entirely! Check out this album! (Death8699)

(Peaceville Records - 2020)
Score: 75

https://peaceville.bandcamp.com/album/suffer-for-nothing

Regen Graves - Climax

#PER CHI AMA: Electro Noise/Kraut Rock

Regen Graves è un personaggio istrionico dalle mille potenzialità. Noto produttore, bassista, batterista, songwriter, chitarrista e tastierista di tanti progetti, produzioni e collaborazioni, tra cui gli Abysmal Grief, Tony Tears, Apolion, Malombra e Damnation Gallery. Nel suo curriculum non poteva mancare un side project personale, dove poter dare libera espressione alla sua forma sonica più buia, surreale e futuristica. Una one-man-band che ha rilasciato negli ultimi anni una manciata di release molto attraenti, per i cultori del genere ambient, noise, elettronico-sperimentale. La sua ultima opera è intitolata 'Climax' ed evolve il suono dei precedenti lavori, sfruttando gli insegnamenti dei maestri del krautrock, dell'elettronica futurista e vintage di band come i Kraftwerk, il tutto quasi sempre rigorosamente strumentale, fatto salvo per piccole intromissioni di voci campionate. Dalle forme stilistiche ambientali in odor di space/horror dei precedenti 'Cruelty of Hope' e le atmosfere più intime e psicotiche di 'Herbstlicht', il musicista genovese, si evolve e amplifica il raggio d'azione utilizzando i synth in maniera egregia. Il sound è curatissimo e mantiene un particolare suono cosmico e caldo, pur presentando strutture compositive agghiaccianti e nerissime. Si aprono le danze con una lunga (ben 10 min), drammatica e robotica sequenza di organo, rumori metallici e campionamenti di voci in lontananza, stesi su di un vellutato ronzio di fondo che progressivamente prende il sopravvento sul resto di "Immutable Reality", che mostra anche nella distanza un tiepido battito ritmico. Una suite che introduce perfettamente l'ascoltatore nella meravigliosa "The Last Stage of Decline", una chicca costruita con l'intreccio di loop rimbalzanti dei synth, che penetrano nel cervello come il rumore delle biglie di vetro fatte cadere sul pavimento, coadiuvati da una voce narrante ed una tensione devastante in continua crescita che non lascia scampo. Da questo momento in poi, i brani si accorciano leggermente nella loro durata, senza mai perdere la prospettiva ipnotica e spaziale che caratterizza l'intero disco. La sensazione di ascoltare una vera e propria colonna sonora di qualche film di fantascienza di qualche decennio fa, si concretizza con "The Window", per poi passare alla violenza di "Diegetic Distortion", fatta di calda, rumoristica ed industriale sperimentazione sonora. "Nothing Will Be Better" è un drone di synth che trova il suo contraltare nella geniale inventiva di accostarlo ad un suono funebre di campane solenni, voci e rumori di varia natura. La conclusiva "Heat", che nella versione digitale è una bonus track, è un ulteriore passo verso l'universo kraftwerkiano, stravolto da un pianto di bambino che gela il sangue in un crescendo ritmico degno della migliore synthwave degli anni ottanta. Regen Graves, con questo nuovo lavoro, conferma la sua illuminata ispirazione, 'Climax' è un ottimo album, che merita ripetuti ascolti. Un disco spettrale con un'enigmatica copertina, curato nei dettagli, ricercato ed ispirato, per un pubblico sofisticato ed esigente, a cui consigliamo di ascoltare quest'opera anche in cuffia, oltre che in un buon impianto stereo, per apprezzarne a dismisura, l'intenso magma cosmico di cui sono costituiti questi brani. Ascolto obbligato. (Bob Stoner)

(Pariah Child/Yoshiwara Collective - 2021)
Voto: 80

https://regengraves.bandcamp.com/album/climax