Absu - Tara (2002)For an album that needs no introduction, or shouldn't need one, one could almost imagine that Tara was released in 1988 or something alongside the German thrash greats, but this 2002 release is an easy choice for me when asked about modern classics, or best album of the decade from 2000-2010 (maybe one or two others come to mind). In all honesty, what can be said about an album which literally leaves one crawling on the floor trying to escape it's endless magickal power. With Proscriptor offering one of Metal's best drum performances ever, it's easy to forget some of the other elements which fall to the side. But one could listen to this album ten times and listen for different instruments and reasons. For example the combined bass effort of Shaftiel and Equitant here is unreal, with the bass every bit as vibrant and necessary as the flesh-rending guitars. It would be heresy to ignore the implications which a track such as "Pillars of Mercy" or "Manannan" would have for the Black Thrash genre moving forward, epitomizing what the genre could provide but has very rarely acheived. The minutia on the album are endless; the phasing effects in "A Sheild With An Iron Face", the first immediate pause and subsequent drum accents in "Pillars of Mercy", "Manannan's" taunting continuous rhythmic undulations, "Four Crossed Wands'" tense pull and push conflict; the more one scrutinizes Tara, the stronger it becomes, it's riffs burrowing into corners of one's being to the point that they reappear randomly at points in life; at family dinners, while shopping, during sex. What also strikes me about this record is the complexity overall of the songs and lyrical content. Absu's combined trio-crafted lyrical content for this record which is hands down some of the most ridiculous thematic content when you look at the liner notes, but the songs themselves flow smoothly like wind over Irish hills. For me, the first track that ended my life was "Stone of Destiny," which Iron Maiden wish they wrote first, because it's about as epic as Heavy Metal gets but Absu's style lends it a viciousness and sharpness which would be difficult to recreate anywhere else. It's the perfect culminating track for this record. Tara is one of a kind, a landmark album that exists more as a dream to achieve than the reality of it's being. UltraBoris was wrong. Required listening. (Orion)
Atavisma - On The Ruins Of A Fallen Empire (2017)Atavisma, the French death metal outfit that first impressed me with their 2014 demo, Where Wolves Once Dwelled, trickles material out every once in a while, a pace similar in output to the pace of the two songs on On The Ruins Of A Fallen Empire, the Horror Pain Gore Death 7" EP recently assembled. Though similar on all fronts to the material from the demo, as well as the single track from their 2015 split with Indonesia's Maur, Atavisma has added a human drummer on this recording. The natural drums add just ever slightly a natural aura to the percussion and, hence, the impact is improved. On a local level Atavisma's Death metal style is firmly entrenched stylistically with Ataraxie, switching between slow doom segments and faster Incantation styled tremolo guitars. The comparisons to Disma or Funebrarum are accurate. Claims of resemblance to Incantation are more appropriate in this case. Where Ataraxie is content to write long epic fifteen minute tracks, Atavisma has topped out at the ten minute mark on the previous split. Here we get song more average in length in the six or seven minute range. This vastly increases the digestibility of Atavisma's fare. Vocally, L's low murmuring growls are less varied and emotive than Marquis' from Ataraxie. It's tough to choose which track deserves more extolling. "The Shapes of Great Nothing" is a beast of churning death and pummeling molasses-thick wreckage. "Amid the Ruins" is praiseworthy as well with subtle melodic designs which flavor throughout. I lean towards this second track because bassist Waldo Losada plays such a key roll in the tracks quickened spiraling mid section. This is a deadly EP and much as I lauded the original demo, On The Ruins Of A Fallen Empire is Atavisma's darkest and deathliest material yet. (Orion)
Black Bleeding - A Bright Future (2015)I've listened to this tape so many times over the past year or so, and just simply have not been able to get into it at all. Black Bleeding changed a huge amount between The Awakening and A Bright Future and I can't for the life of me promote this newer entity. The sarcastic, thrashy, dare-say-I 'fun' band they've become on A Bright Future is just not my cup of tea. It's pretty apparent from the first chords of the demo that there is a definitive change in style, with a big punk influence showing through. The progressions are upbeat, and, if not downright jovial such as "Three More Beers and the Truth" or "Habay Cock City / Athus Toxs City" then they are politely non-aggressive in any way. Also of note is the lack of actual "riffs" and reliance on quickly strummed chorded progressions. The drums are often simple thrash beats on loop. "Can Food & Weapons" closes the album as the only song I felt resembled the original style they had developed earlier but even this is riddled with lackadaisical and bland rhythmic elements from the new album. The band is essentially the same entity so I don't know what happened to Black Bleeding on this but they should return to their roots of dark death metal. (Orion)
Ctulu - Ctulu (2016)Ctulu is a Lovecraftian extreme metal trio from Germany formed in 2008 - the self- titled album in question is their third full-length, and also my first experience with the band. The music mixes elements of black and death metal, although somewhat in the modern vein. The band shows a impressive level of craftsmanship, as each instrument is well-played and evident in the mix. The songs also tend to be quite catchy and memorable, filled with tight rhythms and headbanging riffs. The band's sound isn't easily categorized, which is where their experimental tendencies kick in. Ctulu have a knack for neck-breaking thrash riffs as well, combined with hard-hitting drumming and tasty bass licks. If you could envision an unholy concoction of Behemoth, Slayer and Satyricon with vocals in German, then you might just have a good idea what to expect from Ctulu. An enjoyable effort. (Mongrel)
Fates Warning - Chasing Time (1995)Compilations are rarely useful for bands with such devoted fan bases such as Fates Warning. While surface dwellers may find a best of useful for a band like Iron Maiden or Metallica to be informed of the bare-essentials, this is not important for bands even of a stature such as Fates Warning. So the real question, who would really buy this? I have no idea. I found the compilation a nice mix of material spanning the band's Arch and Alder eras. The Alder era represents more time here, as is to be expected with the contemporary Alder era albums represented and the three Arch albums. We get "Damnation" from Night on Brocken, and only a single track from The Spectre Within (The Apparition). From Awaken The Guardian, "Prelude to Ruin" and "Guardian" were chosen, which I felt to be odd choices. "Silent Cries" and "Quietus" (Pt. IV of Ivory Gate Of Dreams) appears from No Exit and from Perfect Symmetry "Through Different Eyes" with a reworking of "At Fates Hands" called "At Fates Fingers." The greatest grouping of tracks is taken from Parallels. "Eye To Eye", "Point of View", "The Eleventh Hour", and remix of "We Only Say Goodbye" are chosen. Inside Out donates "Monument." The only truly interesting tracks here would then be "Circles" and "At Fate's Fingers". "Circles" is the only truly unique track to this release. In the style of Parallels mostly, it's easy to see why it was omitted from previous albums as the track sounds unfinished as presented. The clean guitar that gently glides over everything sounds as if it is mostly a placeholder for something better that could potentially have been added later on. Overall, this is a decent collection for a fan of the band that would be interested in having a mixture of tracks from both early and more modern periods of the band, yet with the easy ability to create one's own playlist, this style of best-of compilations from the physical era are totally unnecessary. (Orion)
Imprecation / Blaspherian - Imprecation / Blaspherian Split (2014)Two Texas based death metal bands with big Incantation influence, Imprecation starts this split with their massive take on death metal. "Unlock The Ancient Portals of the Faceless Lord" might be a mouthful to say but it's a huge track, owing a lot to Morbid Angel's Covenant but also is so down-tuned that it's not difficult to see some similarities to Demilich. The weakest element is the drumming, with not a huge amount of variety or separation rhythmically and Milton Luna's bass tone is too boomy for my liking, snuffing out what I feel could be a lot more definition in the overall mix. It's a mostly blunt and bludgeoning effort. Blaspherian's "The Blesings of Sanctity Rescinded" is the longer of the two tracks and contains more overall nuance to appear to me the better of the two tracks. It's not awkward for Blaspherian to juxtapose a faster guitar riff with a crawling drum line, such as halfway through when the track dissolves into palm muted chugs while Matt Mayhem plays an almost Funeral Doom drum beat. I felt the decision to end the song by simply fading away with vocals still grunting and guitars still chugging was an odd choice, leaving me feeling as if the track was never completed or was culled from something intended to be longer. (Orion)
Invincible Force - Satan Rebellion Metal (2015)They say the most the powerful forces in nature, are the invincible forces. That sentiment could very well apply to the band I'm reviewing, since Invincible Force is another hellish entry from the fathomless depths of the Chilean underground. The release under review, Satan Rebellion Metal, is their debut full-length summoned under the cloak of Dark Descent Records. The album features eight impure hymns of caustic black/death/thrash reminiscent of bands like Slaughtbbath, Communion, and Force of Darkness. If you can envision a thrashier Bestial Warlust, then you might have a good grasp of what awaits you on Satan Rebellion Metal. The music is absolutely scornful and performed with malicious fury, as if though the members were all possessed by malignant spirits during the recording of this album. The production is powerful and brings out the best in each performance. There really is no shortage of savage riffs and merciless aggression, this is about as menacing as South American black/death/thrash gets. This album only gets more enjoyable with each spin and delivers just the right amount of tracks and length that prevents it from becoming tedious. If you enjoy your metal bestial and thrashy, I guarantee you, you will love Invincible Force. (Mongrel)
Lantern - Below (2016)Lantern's Below and it's gargantuan moss shrouded Incantation-esque riffs are sure to drip directly into the gut of most listeners. Lantern don't hesitate, with opener "Rites of Descent" immediately lashing out at everything in it's vicinity with a stream of twisting deathly riffs. The first listen should be adequate for songs such as "Manifesting Shambolic Aura" to be immediately on the cusp of one's inner-jukebox, but after two or three heady listens it's clear there are a well of ideas presented here. "Revenant" shows variety in the drums as the song breaks into a doomy chord progression underneath a slick lead. Speaking of the guitar leads, Below abounds with them and with only Cruciatus handling the instruments including the bass and drums, it's surprising how deep that well of ideas goes. He proves himself capable on every instrument as well. Though the bass is audible throughout, and follows the guitars mostly, it adds a huge amount of low rumble to the mix to offset and fill in gaps when the guitars echo Immolation-style tremolo moments which would otherwise be empty. The drums are set back in the mix slightly compared to other elements, particularly the echoing cavernous vocals, yet sound as if that distance is necessary to add to the subterranean eminence which the album conveys. "Manifesting Shambolic Aura" is my favorite here, Death metal legions should by now have engaged with Lantern. If not, Below is a good point of departure into their lair. (Orion)
Mandragora - Steel Metal Attack (2017)Peru's Mandragora put out one of my favorite recent demos with 2010's Steel Metal. They've been idle in terms of new releases other than their First Attack 7" This compilation includes both and is a good addition to any Heavy Metal loving fan's collection. Mandragora are very much a top tier band performance wise mixing mostly Priest and Maiden with some speed metal elements topped with Fatima Natthammer's powerful vocals. The tracks from the 7" are much more professionally produced, with clear, classic-sounding metal guitars and leads by Herman Gers and Paulo Rockett. Of the two tracks from First Attack, I prefer "Lady In Black," which is less 'jumpy' than the more rock-and-roll crowd-raising "Snakebite." The true worth of the compilation, however, are the demo tracks which have received some production updates fixing issues with playback on the original demo tapes and some slight volume adjustment. The demo is still a far cry audibly from the two new tracks. Hearing what, in my opinions, is a modern classic such as "Steel Metal" in a better quality is worth the import. With three video files attached to the disc viewable on PC or DVD player, live videos of performances of "Steel Metal", "Snakebite", and "Lady In Black" the compilation really offers a nice overall package with some new material added on. I'm stoked to finally get their full length, Waves of Steel, in the mail soon, because this is truly no more than an appetizer. (Orion)
Master's Hammer - Ritual (1991)Master's Hammer's debut, Ritual, is still one of the more bizarre recordings from this early era of death metal and black metal compression. What I like most about it is ironically what I hate most in classical music, which this is easily compared to. When big grandiose timpani sections burst in to accent notes and transitions, chills sweep over me and I shudder in visceral elation. The sharpness against the otherwise pitter- pattering drums of Mirek Valenta and Necrocock's (Tomas Kohout) sodden guitars is so bright and charmingly elemental in tonality. Beyond this, riffwise, the highly unusual movements would be easily castigated in other bands for being too syncopated to flow well but sound as liquid as water behind Franta Storm's raspy grumbled Czech dialect. Highlights are many but the three key tracks here are "Pad Modly", "Cerna Svatozar", and "Ritual". Though it would be easy to include others, these three tracks exemplify Master's Hammer in every regard; the isolated bursts of weirdly syncopated riffs, strange and unusual melodic movements, and bombastic timpani accents. To explain how important the timpani is for Master's Hammer, it's listed as a main instrument. Not even Geoff Nichols was listed as a main musician on the albums he added keyboards for in Sabbath. "Cerna Svatozar" is my favorite here for the indelible scar left on my brain with the opening riff, the heavy timpani usage early on, and the perfect tension built in the verse. (Orion)
Phil Collins - No Jacket Required (1985)Phil Collins' third album, No Jacket Required, a title inspired by not being allowed into a restaurant, is Collins' least personally representative record and most commercially influenced output. I wouldn't quite call the album cold, because the synths and vocals are very warm and inviting across songs such as "Long Long Way To Go" or the ephemeral "One More Night". Either "Doesn't Anybody Stay Together Anymore" or "Who Said I Would" are the toughest offerings. I think the later is the 'hardest' track here with a rough and sci-fi sounding bass behind the whole track and steel drums acting as the main structural cue. At times when Collins and co. speed up the material lacks the personality which Phil Collins had brought to his previous solo albums. "Sussudio," while being an awesome comic book character, is just too repetitive, effectively jamming it's two main hooks into you instead of gently placing them, "Only You Know and I Know," a track that reminds me of ZZ Top's Afterburner, and which I keep munching on, has a similar plunkiness even if the keychange to the chorus hits the ears hard. There is little of the progressive elements here which I look for in Collins' music. One fast track which bucks this trend is b-side opener "Don't Lose My Number," where the beat drives forward a track with almost atonal guitar licks. Structurally, the song, though sticking to the pop formula, amends just enough to retain a sense of Collins' past history as we're guided through a bridge, transitional section, and extended solo. My larger gripe with the record is simply the choice production wise for this to be so electronic. It dates the record. Without some of these elements, it would lose some of it's charm, however. (Orion)
Queensryche - Silent Lucidity (1991)This single contains a mere two songs. Opening with "Silent Lucidity," this single merely formulates thoughts in the mid as to how Queensryche went from The Warning a mere six years earlier to this Pink Floyd-esque prog rock / easy listening crud. The lack of metalness, out-of-place samples, orchestration, and Tate's feminine vocals on the track are confounding. The b-side is more rewarding but ultimately still tripe. It is a single-specific live recording of "The Mission" recorded at the Hammersmith Odeon in November 1990. It's a whatever track, exemplifying the Empire-era style of the band with too much focus on hooks and not enough focus on attack and riffs. I did enjoy listening to Eddie Jackson's bass playing which is clear and driving. It's actually a good example of the importance of the instrument in progressive metal. As far as I know, this version of the track is not available anywhere else. It also doesn't need to be. The CD version has a live recording of "Eyes of a Stranger" which isn't present on the my tape. Since I picked up this tape for a mere fifty cents, I don't care at all and it's an odd relic, but totally not worth spending any significant cash on unless you would like to pay me for my own copy. Completists are the only group I could conceive of actually searching for this release. I could also imagine Tate himself putting it on a pedestal simply becuase he sings on it. (Orion)
Signatura Rerum - In Sfarsit (2013)For symphonic black metal, often the keyboards can be a major detriment to the overall sound of the band. Romanians Signatura Rerum, on their debut album In Sfarsit, prove they can be used to truly propel the emotional pinnings of a record. Best categorized, Signatura Rerum takes the sound of Negura Bunget, particularly on Om, and strips out the more avant-garde elements. Melodically, there are similarities as well as in pacing and movement. "Blestem Soptit" is best evidence of this, but where Negura Bunget use guitars melodically, Signatura Rerum use the keyboards, creating a symphonic background to the riffs in the front of the mix, which occasionally touch into death metal territory. Vocalist Echivoc is a highlight for me, excellent in his harsh screams which fit perfectly into the expansive arrangements' natural flow. Occasionally, Echivoc also adds clean and layered chanted vocals which add an ethereal component to their sections and act as ear candy to offset a powerfully intense record. The drums are also a highlight, with extremely natural rhythms and fills throughout the record, I was duped into thinking drummer Morgul actually performed the material here when it was in fact a drum machine. For a first album, this comes across as very masterfully done, and while there could be some attention paid to add clarity in the overall mix, the overall impression this leaves is very positive. This will likely appeal to anyone that enjoys Emperor or Borknagar or similar symphonic Norwegian bands from the second wave, just with that special Romanian mysticism nestled deep within. (Orion)
