Dark Tranquillity - Moment

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

#FOR FANS OF: Swedish Death

I didn't discount this release when I first heard it because of my initial reaction to 'Fiction' wasn't great, but 'Projector' my favorite release from them of all time. This I felt it a "B" average because there are some quality parts to it, it isn't just a waste of $20. I thought that the vocals were solid (as always) though the guitar riffs are a little iffy. However, I was glad to get this recommendation from a long time friend of mine. I thought that the melodic parts were cool, even though Martin is no longer with the band. I thought that it was an excellent that Christopher Amott (ex-Arch Enemy, current Armageddon) is on guitars. Not that sure of Johan, but both do a great job!

As to who did the most songwriting on this release is obligatory. The guitars are superb, though not as good as they could've been. But I liked the album anyway. The music itself isn't very heavy, just emotional based. Mikael's vocals are some of the best that they've ever been, maybe better than even my favorite from them. The keys blend well with the melodic guitarwork and more of a feeling-based album. Mikael isn't sounding like he's crying on the voice but he's definitely in sad-mode. The riffs accompany the voice and synthesizers with absolute precision. And the production on top of it all is way good.

It was striking that an Amott was a part of this album. Christopher was amazing in Arch Enemy. I'm glad he clanged onto this release. He's one of my favorite melodic death metal guitarists just as Jeff Loomis (Arch Enemy, ex-Nevermore). So as far as the lead qualities on here, they're superb. I didn't think Christopher would last as long as he did in Arch Enemy since their style was continually evolving maybe into something that he wasn't into anymore. But him abandoning melodic death metal completely wasn't the case. And on here is another example of a great effort he puts through with this band. I suppose they did the band justice acquiring him.

I was totally skeptical about this release being something worthwhile and yes it is worthwhile. So on basically blind belief I bought a physical copy of the album despite the putrid reviews. I thought that from start to finish this album has a lot of grit to it. And it's definitely feeling based which is what you want from a band like this. I don't think there's any song that I disliked from the album. It's not the best Dark Tranquillity to date from my viewpoint, but I did like it better than 'Fiction' of course. It's got a different feel than that album. It's definitely not an album to listen to when you're feeling melancholic. Great release nevertheless! (Death8699)

(Century Media - 2020)
Score: 76

https://www.darktranquillity.com/

In Quest - The Comatose Quandaries

BACK IN TIME:

#PER CHI AMA: Death, Meshuggah, Nile

Nati dalle ceneri dei System Shit, i belgi In Quest evolvono ulteriormente il loro sound, sempre e comunque fatto di una miscela esplosiva di death metal e partiture brutal, arricchendolo di atmosfere plumbee e decadenti, talvolta apocalittiche. Se i primi album erano fortemente ispirati dai Cannibal Corpse e in seguito dal sound di Soilwork e In Flames, questo lavoro ci consegna una band che propone una sorta di brutal death prog con un’influenza più marcata derivante da Meshuggah e Strapping Young Lad. Le caratteristiche peculiari della band rimangono comunque intatte: lavoro di chitarre impressionante, drumming devastante, tastiere tetre e opprimenti che creano atmosfere rarefatte, ottime vocals, sia growl che pulite da parte del vocalist svedese Mike che ha sostituito più che degnamente il vecchio membro fondatore Sven. Il feeling che emana 'The Comatose Quandaries' potrebbe essere tranquillamente la colonna sonora della fine del mondo, per quei suoi passaggi da brivido; ascoltatevi “Warpath” e capirete di cosa stia parlando: le ritmiche sincopate, le atmosfere angoscianti ci rubano le ultime molecole d’ossigeno capaci di tenerci in vita. Citavo i Meshuggah come punto di riferimento principale per l’uso più frequente, rispetto al passato, di stop’n go, blast beats, ambientazioni industriali oscure e minacciose; ma nel suono degli In Quest sono rintracciabili anche influenze derivanti dal thrash/metalcore americano, dal cyber death dei primissimi Fear Factory e dal brillante brutal di act quali Nile o Cephalic Carnage. Ottima la produzione, ottimi i musicisti, ottimi soprattutto gli intriganti e angoscianti solos, capaci di toglierci gli ultimi soffi vitali. Da rilevare la presenza infine, in veste di guest, del vocalist dei Mnemic, Michael, sulla title track di questo entusiasmante 'The Comatose Quandaries'. Grande passo verso una vita (o una morte) piena di successo. (Francesco Scarci)

(Dockyard 1 - 2005)
Voto: 75

https://in-quest.bandcamp.com/album/the-comatose-quandaries

As We Fight - Black Nails and Bloody Wrists

BACK IN TIME:

#PER CHI AMA: Death/Metalcore

La Danimarca non ha mai avuto una scena cosi florida. Nei primi anni 2000 c'erano gli Hatesphere, i Mnemic e gli Smaxone, dopo questi la nazione nordica partorì un’altra band che combinava death melodico e metalcore. Ecco a voi gli As We Fight e il loro debutto sulla lunga distanza (nel 2003 uscì il Mcd 'Darkness of the Apocalypse'), un lavoro appunto che è una commistione di sonorità già allora abusate: chitarre aggressive, voci al vetriolo che si alternano ad animaleschi growling, sprazzi melodici e tanta velocità. Direi che le carte in tavola per un presunto successo ci potevano anche stare, sebbene ancora una certa immaturità aleggiasse nello stile della band, talvolta troppo involuto verso soluzioni anacronistiche per il genere. A differenza di colleghi ben più famosi, gli As We Fight cercavano qualche soluzione alternativa nell’utilizzo di una tastiera dalle spente tinte apocalittiche. Devo ammettere, ad ogni modo, che 'Black Nails and Bloody Wrists' sembrava poter impressionare favorevolmente l’ascoltatore nelle prime quattro tracce, ma successivamente cadeva in un anonimo torpore da cui difficilmente risvegliarsi. Prodotti tuttavia egregiamente negli Antfarm Studios da Tue Madsen, il risultato di questo debut album alla fine risulta essere alquanto scontato e privo di dinamicità, diventando spesso troppo noioso. L'auspicio rimase che i ragazzi si facessero le ossa col tempo (altri due album successivi ahimè non troppo brillanti) cercando di sfruttare meno i trend imperanti e personalizzando maggiormente il proprio sound con idee più originali. Ma tutto fu gettato alle ortiche con lo split della band. (Francesco Scarci)

(Goodlife Recordings - 2004)
Voto: 58

https://www.facebook.com/aswefightdk/?fref=ts

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)

(Transcending Obscurity Records - 2020)
Score: 76

https://revoltingdeath.bandcamp.com/album/the-shadow-at-the-worlds-end-death-metal

Black Viper - Hellions of Fire

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

#FOR FANS OF: Heavy/Speed Metal

These guys sound pretty vintage heavy metal in the vein of Ozzy (old), et al. I really enjoyed this entire album. The songs are lengthy and quite innovative riff-wise. The leads are good, too! I'd have to say that every song is good on here. And the vocals aren't annoying like some other heavy metal bands. This band reflects the early 80's 90's era of heavy metal. That's what I like about them! They've gone old school and they're a modern metal band. I like how they put together the songs. And I don't hear the "speed" metal but the moderate guitar work. I really like this band. I'm glad I discovered them.

The music and vocals are the highlights to this album. The guitars were a little sloppy in some instances, but not on a whole-scale. A lot of tremolo picking with the rhythms. But the tempos were just reflective of a classic heavy metal album. I enjoyed it really. There was some sort of echo to the vocals and production. It just seemed to be how they wanted the album to sound. And the vocals at times were screaming in a high pitch. But it went along with the music. I liked the guitar the most. The riffs are wholly likable, that's what drew in their audience, I think. But the vocals and drums were good, too.

I'd say the groove this band gives off is significant! The rhythms are notorious for being catchy and original. It's just that the vocals have a tinge of Ozzy (as mentioned) in them, but it's still good to listen to. It's nothing too brutal. These guys are solely not mainstream at all. This is a band that needs more publicity and recognition. I was happy to discover them when I did. Even though this album is about 2 years old, it's not really lacking in anything. It's straight forward and grappling. They seem to draw in their influences without duplicating them. The riffs are totally invincible I think they're the highlight, absolutely.

If you're just in the metal (general) genre, you should be able to dig this with immense joy! Or just want a change from brutal genres then you're set. They seem to attract people that are interested in many different forms of metal. So if you're like me, check them out when you want a change from say death metal. These guys are straight heavy metal with a punch,. The riffs are awesome and the originality is there too. You can download or buy the physical CD. I'd say the latter to show support to the band. I might have to do that myself keep these guys going onward! (Death8699)

(Self - 2018)
Score: 80

https://blackvipermetal.bandcamp.com/album/hellions-of-fire

Empress - Premonition

#PER CHI AMA: Stoner/Sludge/Post Metal

Scovati quasi per sbaglio sul web per un evidente errore ortografico del sottoscritto, mi ritrovo oggi tra le mani l'album di debutto dei canadesi Empress. 'Premonition' segue infatti a distanza di tre anni l'EP 'Reminiscence' con il quale il duo di Vancouver diede voce alla propria personale proposta musicale che combina stoner, doom, sludge e post metal. Il tutto è chiaro fin da subito, quando "A Pale Wanderer" fa il suo debutto nel mio hi-fi. L'impianto ritmico è infatti quello stoner dei Mastodon con le chitarre granitiche e la voce di Peter Sacco (che peraltro suona anche nei Seer) che ammicca ai Baroness. Quello che mi conquista è la seconda parte del brano affidato quasi interamente al sibilare delle chitarre in tremolo picking e ad un arrembante cavalcata finale che sfiora il post black sia a livello ritmico che vocale, il che permette ai nostri di ampliare ulteriormente il proprio raggio d'azione, inglobando tra i propri fan anche i non puristi di sonorità estreme. E qui di apertura mentale ne serve parecchia, visto che con la seconda "Sepulchre" (uno dei single dell'album) si ritorna ancora in territori tipicamente stoner, anche se poi non mancano le esplorazioni verso un robusto hard rock sporcato di sludge non troppo melmoso a dire il vero, ma che comunque anche troppo pulito non è. "Passage" sembra un mix tra stoner, psych rock di scuola teutonica (penso ai berlinesi Elder), un pizzico di doom, ma anche una certa vena progressiva che esalta non poco l'output finale dei nostri. Con "Trost" si infiamma l'anima del duo originario della British Columbia, e si torna cosi a pestare sia sul piede dell'acceleratore che sullo sbraitare dietro al microfono, con la voce di Peter che aspira ad uno screaming quasi black, ma solo per quella manciata di secondi in cui anche la ritmica corre impazzita come un cavallo indomito. La song poi evolve attraverso forme stilistiche più evolute che chiamano in causa i Pallbearer, prima che la bastarda anima hard rock torni a rimpossessarsi dei due musicisti canadesi. Eppure c'è ancora tempo per sentire anche le velleità post rock dei nostri proprio in finale di brano. "Hiraeth" parte lenta e oscura, magnetica come poteva essere l'intro di "1,000 Shards" degli Isis e poi continua a muoversi in territori tipicamente post-metal ammiccando indistintamente a Neurosis e Isis. La title track è ancor più ispirata, disegnando splendide atmosfere post metal, complici gli ottimi arrangiamenti ed una song tra le più dotate di una forte emotività. Ma questo è uno standard degli ultimi pezzi visto che anche la conclusiva "Lion's Blood" guarda in questa direzione con un sound forse più abrasivo della precedente ma che comunque sottolinea le ottime eccellenti doti compositive della compagine nord americana, in una song riconducibile musicalmente al post metal più malinconico e crepuscolare. Il che la rendono un altro degli episodi meglio riusciti di questa prima prova su lunga distanza degli Empress. Insomma l'Imperatrice ha colto nel segno e non posso far altro quindi che invogliarvi all'ascolto di questo 'Premonition', credo che gli spunti che ci troverete, saranno di sicuro interesse. (Francesco Scarci)

(Petrychor - 2020)
Voto: 75

https://thisisempress.bandcamp.com/album/premonition

Skeletal Remains - The Entombment of Chaos

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

#FOR FANS OF: Death Metal

Follow-up from 'Devouring Morality' and definitely a solid follow-up. I enjoyed it immensely. Again, showing their interests such as Death, Obituary, et al they make their own unique riffs. And the lead guitar is AMAZING. Similar vocals to the last and the atmosphere is a little darker than their predecessor. Both equally as good and invigorating. I liked this band right away when I first heard them. Unique in their own right, vocals raspy throat and rhythm guitars that are quite technical. And FAST! They're still within the death metal genre and sticking to their roots absolutely!

There wasn't a track on here that I disliked. I felt each one was worth it. Definitely hear the influences and they weave it into their own array of sounds. This one isn't all fast tempos but a lot of them were. But the riffs are pretty technical. The whole sort of atmosphere to this album is totally grim and depressing. The vocals are sung in a fashion that goes well with the brutal riffs. Just like their last release, a sense of this sort of hoarseness. Simply is an acquired taste to it. But again, it keeps it more underground. The music and vocals are my favorite parts to the album. Definitely.

The production is sort of raw and echo-ish. But it's good that they did this because it keeps that darkness to it the whole way through. They sure as hell beat your eardrums to death. I really like a good majority of riffs on here. I thought that they were quite good definitely well executed. All the songs are brutal and you don't know what to expect. The drums go well with the music also. They seem to follow along the riffs in the right fashion. Double bass kicks and some blast beating here or there. The tempos are just all over the place. And the riffs in your face kick ass! Some of the leads are just mind boggling.

I liked this whole album, but I thought it was about similar to their last album in terms of quality. A little bit darker, but not that much. I saw a copy of this at the record store and I had to grab this. It's featured on Spotify and I'm sure YouTube as well. I'm a CD collector so I didn't mind getting a copy of this album. Hear it from any source, it's a killer LP. They really know how to write some killer music. You just never know from track to track what to expect. I would say buy the physical copy if you're a CD collector as well because it's definitely worth the money. And help the industry too! (Death8699)

(Century Media - 2020)
Score: 78

https://www.facebook.com/SkeletalRemainsDeathMetal

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

Sens Dep - Lush Desolation

#PER CHI AMA: Shoegaze/Ambient, Mono, Slowdive

Nato nel 2009, il progetto australiano dei Sens Dep vede la luce inizialmente come supporto sonoro verso visual media e colonne sonore per film. La band è costituita per due quinti da ex membri della band post rock Laura, valida compagine con all'attivo tour insieme a Cult of luna, Isis e Mono, oltre che numerose pubblicazioni tra album, singoli ed Ep. Andrew Yardley, Ben Yardley (ex Laura) e Caz Gannell sperimentano a lungo con la nuova creazione e servirà un periodo di ben quattro anni di incubazione, passati tra le lande selvagge della Tasmania, per renderla concreta e definirne le caratteristiche estetiche attuali. La cosa bella che si nota al primo ascolto, è che la linea continua con il passato post rock non si è spezzata ma, semplicemente, molto molto evoluta con il passare del tempo. Certo, la concezione musicale in stile soundtrack prevale sempre ed anche l'amore per rumori e interferenze ambientali gioca un ruolo fondamentale nel fluidificare sonoro delle composizioni, fino a renderle inevitabilmente, una sorta di film da ascoltare in perfetta solitudine. La struttura di 'Lush Desolation' si potrebbe spiegare come un percorso immaginario in montagna, dove si parte dalle prime quattro tracce impregnate di umore grigio e una tensione d'ambiente di grande effetto, cariche di feedback di chitarra e tappeti di synth dal sapore cosmico complici ritmi lenti o appena abbozzati, con all'interno sempre una certa malinconia che riporta spesso alla mente distese ampie e paesaggi riflessivi. Percorrendo la salita della nostra ipotetica montagna, ci si addentra nella vetta del disco che cresce enormemente con la comparsa di una voce calda ed ipnotica (in stile Chapterhouse epoca 'Whirlpool') nel brano "Nebuvital", portando la musica ad una dimensione di canzone assai intima, rarefatta, circondata costantemente da un senso profondo di desolazione. Nei tre brani successivi questo cambiamento aprirà il suono ad un approccio mesmerico ai confini della realtà, omaggiando band del calibro degli Slowdive, The Telescopes e Loop, trasportandoli in un contesto più moderno, tecnologico e siderale, con monumentali muri di chitarre distorte, infinite e liberatorie, cadute a pioggia su tappeti ritmici pulsanti e rallentati, una visione lisergica in slow motion per parlare, con i testi delle canzoni, del rapporto complesso che esiste tra uomo e natura. Compare anche un volto acustico in "Bound" ma lo shoegaze è padrone in questa casa e lascia poco spazio a ciò che non lo è. La traccia in questione nasconde una chicca al minuto 3:27, che non vi svelerò ma che si fa apprezzare parecchio, una gemma che innalza il valore di produzione dell'intero album, mostrando che la band di Melbourne ha ottime idee da estrarre dal proprio cilindro, anche per gli audiofili più esigenti e perfino per gli amanti di certa musica elettronica d'ambiente. Altra hit potenziale è "To Build a Fire" che, avvolta nella sua malinconia, invita alla strada in discesa dalla nostra montagna sonica. E la discesa non pregiudica la qualità della proposta e negli ultimi brani, prima della chiusura, si esaltano il distorto, la ritmica e l'ambiente. È tuttavia nella magia della conclusiva "Luckless Hunter" che si tocca l'apoteosi compositiva, tra shoegaze, post rock, l'infinito mondo dei Mono e riverberi degni dei più corrosivi My Bloody Valentine, passati in acido e rallentati a più non posso. Non che avessi dubbi, poiché le premesse di questo album erano già una garanzia, ma il debutto dei Sens Dep è veramente una catarsi magica, da cui sarà difficile staccarsi e lasciarla cadere in tempi brevi nel dimenticatoio. Ascolto obbligato. (Bob Stoner)

(Self - 2020)
Voto: 80

https://sensdepsound.bandcamp.com/album/lush-desolation-3