Album Review; Vader - Tibi Et Igni

Track Listing:

1. Go To Hell
2. Where Angels Weep
3. Armada On Fire
4. Triumph Of Death
5. Hexenkessel
6. Abaondon All Hope
7. Worms Of Eden
8. The Eye Of The Abyss
9. Light Reaper
10. The End


As far as Polish Death Metal goes, you cannot get much more revered than Vader. It's easy to forget that this is a band that is now thirty-one years into their career, especially considering the vitality and awesomeness of 2011's 'Welcome To The Morbid Reich'. Considering that brilliant previous album, expectations are high for 'Tibi Et Igni'.

There's a long, atmospheric build-up before 'Go To Hell' kicks in properly. Immediately thereupon, this album becomes everything you could want from Death Metal, and then some! The speed that Vader deliver this first song with defies the idea of mellowing with age. The riffs and percussion compliment each other brilliantly, and the vocal roars of Poirt 'Peter' Wiwczarek are impactful and vitriolic. 'Where Angels Weep' takes the second step in the hellish war march of the album, going from breakneck speed to slower, anvil-weight stomps in the vamped-up-Slayer idiom that Vader personify well, complete with atonal shredding solos.

In simple truth, there isn't much change to the tone and flow of the album as 'Armada Of Fire' comes ripping through the speakers, except that the riffs get bigger and the pace gets faster. This is simply Vader doing what they do best. 'Triumph Of Death' bears a talking point, though; there are riffs in the song that are eerily similar to those found in the Slayer classic 'Angel Of Death'. Some may get cynical and say that Vader have ripped Slayer off, however, there are still enough differences to show that this is not the case. Besides; when the resulting song is this good, who the hell cares?

'Hexenkessel' starts out with an epic, strings-led intro and a tolling bell before the heaviness reintroduces itself. This song stands out from the album due to a feel of scope and an almost Black Metal element to some of the tremolo-picked guitar lines. It's a little different for Vader, and it's an approach that Vader pull off very well, showing themselves to be more than a one-trick pony. The two and a half minute onslaught of 'Abandon All Hope' is a blasting lesson in brutality, while 'Worms Of Eden' keeps up the anti-religious attack with the kind of fury and fire that would leave fellow Poles Behemoth taking notes. And, no; the album still has not slowed down!

'The Eye Of The Abyss' is another adventure into the ominous, and the guitar leads that litter the long intro are sheer brilliance before the scything Death Metal attack comes ripping out with frightening proficiency, especially where James Stewart's drumming is concerned. Seriously; his bass drum kicks are so fast it borders on ridiculous. Stewart's chops then go on to open the more simplistic 'Light Reaper'.

By the time the gorgeous, thought-provoking 'The End' comes to a close, this album will doubtlessly leave any unprepared listeners in a state of shellshock. This album is Vader's magnum opus, their calling card, which is simply ridiculous! So long into their career, one would think they would be running out of ideas, but no such limitations apply to these gods of the Polish Death Metal scene. This is yet another memorable album for 2014, and a fine testament that Metal is going from strength to strength these days. Raise your horns and hail the mighty Vader!


Rating: 10/10

Album Review; Origin - Omnipresent

Track Listing:

1. All Things Dead
2. Thrall:Fulcrum:Apex
3. Permanence
4. Manifest Desolate
5. The Absurdity Of What I Am
6. The Source Of Icon O
7. Continuum
8. Unattainable Zero
9. Redistribution Of Filth
10. Obsolescence
11. Malthusian Collapse
12. The Indiscriminate

It's safe to start of by stating that with 'Omnipresent', Origin did not want to fuck around all that much. This is their sixth album since their first full-length back in the year 2000, and as such, their renown as one of Technical Death Metal's leading bands does not require much explanation. The band have made an impressive career out of blast beats, growls and unstoppable guitar chops that have seen them amass a considerable following in the Metal Community.

The first clue that the album gives as to the confidence of its creators is in the thirty-six minute running time. Many of the songs come in around the two to three minute mark, and yet the band manages to showcase their understanding of their craft in a brutal, brash manner.

The argument of technicality against song writing doesn't apply to this album; as they are both given equal treatment. The destructive intensity of the music continuously threatens the sanity of the listener, but there are hooks, be they instrumental, rhythmic or vocal that keep everything grounded enough for songs like 'Manifest Desolate' to appeal to newer Origin listeners.

To say that each band member brings their A-game to the table is to state the obvious; Origin albums have always called for and delivered a consistently stratospheric level of musicianship that will keep existing fans more than happy to continue trying to figure out how to headbang to these songs, just listen to the album highlight 'The Absurdity Of What I Am' to see what I mean. There are also short instrumental interludes in the form of 'Permanence', 'Continuum' and 'Obsolescence' which offer a moment to catch your breath, even though the shredding doesn't really let up.

'Malthusian Collapse' is another stand out track on this album, due to many satisfying moments as far as the instrumental composition is concerned. In short; the riffs on this song are delicious to the ear. They are also well punctuated by the underlying drumming.

The production is occasionally the only thing that makes this album stumble. Granted, it's doubtlessly difficult to make all that chaotic noise come through crystal clear, and hell; maybe the band didn't want a polished sound, but there are brief moments where the music bends into a muddy, aural Picasso. It may be nit-picking, but it's a point nonetheless.

The greatest strength of this album is that the band don't seem to be trying too hard to impress everyone or prove anything. As already stated; they're not fucking around. The album contains all the hallmarks of a good Technical Death Metal record, and of a good Origin record for that matter. Origin are clearly a band that are very comfortable in their own skin, and while the music may make casual listener's heads explode, the initiated will be well satisfied with this staunch album.

7.5/10

Album Review; Septicflesh - Titan

Track Listing:

1. War In Heaven
2. Burn
3. Order Of Dracul
4. Prototype
5. Dogma
6. Prometheus
7. Titan
8. Confessions Of A Serial Killer
9. Ground Zero
10. The First Immortal


The return of Septicflesh in 2007 has seen them go from being part the hordes of Atmospheric Death Metal to being the leading band in the Symphonic Death Metal scene. Their 2008 album 'Communion' was simply stunning, as was the follow-up 'The Great Mass' in 2011. Now, their latest album 'Titan' has a lot to live up to.

The grandiose is immediately embraced as the Death Metal stylings of the Greeks mingles once again with the sweeping soundscape of the FILMharmonic Orchestra and Choir of Prague. 'War In Heaven' displays the kind of dense sophistication that was heard on the previous two albums, but with a far more concise compositional style than what was heard on 'The Great Mass', which often stretched ideas out further than needed. Even this first song shows Christos Antoniou's expertise in orchestration, as well as a clear influence from the likes of Wagner. The way his writing makes the orchestra and the guitar interweave so effectively and affectingly, as can be heard on the twisting, morphing second track 'Burn', which features a frankly beautiful break into a strings passage towards the end.

The brilliance of Septicflesh is in their ability to have this depth and extra dimension to their music in the form of the orchestration and other, often unorthodox passages without sacrificing the impact or indeed the heaviness of the music. As far as the bizarre pieces of instrumentation goes, look to the solo string sections found in 'Order Of Dracul'. They add the element of seductive darkness, which helps the musical feel match the subject matter at hand.

'Prototype' sees the use of a children's choir, and it is used brilliantly as, once again the music constantly shifts and keeps the listener on his toes. It's also clear that Septicflesh do not feel they have anything to prove to the Metal World; their compositions are clearly not subject to compromise, and as such sound pure and undiluted. Artistic.

Madness is portrayed well in the introverted darkness of 'Dogma', which paints a bare and frightening image of religious indoctrination as a brainwashing and damaging power in the world. There's almost a melancholy edge towards the end of the song, making this a poignant and thought-provoking song. 'Prometheus' is one of the longer songs on the album, at six and a half minutes in length. It's also one of the most epic.

In the context of Septicflesh's music, there is much more justice done to the orchestra than in the music of more obvious bands such as Nightwish and Within Temptation, where all the orchestral elements ever do is follow the guitar lines note-by-note, almost like a chorus effect for the guitar. This has been a source of undue credit given for some time now in the Metal World. Especially when there are bands such as Septicflesh, Fleshgod Apocalypse or even Dimmu Borgir using orchestration with a far more forward-thinking attitude. It is this, truly exceptional dedication to their craft that makes this writer think that it is this band that should be enjoying the glory that seems to be reserved for the often female-fronted Symphonic Gothic Power Metal fraternity. Listen to the song 'Titan' and you may understand what I mean.

In 2013, the aforementioned Fleshgod Apocalypse released the masterful 'Labyrinth' album, making a chaotic and frankly excellent swoop for the Symphonic Death Metal limelight. Now, in 2014, Septicflesh have returned and shown with almost frightening efficiency that they are far from abdicating their well-earned throne. Titan is a hugely impressive album that has so many sides and angles upon which to view it, that it keeps you listening to it again and again, just to journey through the depths of each composition with feeling and fascination. Sterling work from one of Greece's, and indeed Europe's finest bands.


Rating: 10/10

Album Review; Wolf - Devil Seed

Track Listing;

1. Overture In C Shark
2. Shark Attack
3. Skeleton Woman
4. Surgeons Of Lobotomy
5. My Demon
6. I Am Pain
7. Back From The Grave
8. The Dark Passenger
9. River Everlost
10. Frozen
11. Killing Floor


Wolf are one of those bands; you may not know them overly well, or be familiar with their back-catalogue, but when you do hear them, you're going to like them unless you are the most miserable person on Earth. This is Wolf's seventh full-length album since their beginning in 1995. At this point there is only one original member left in the band; vocalist and guitarist Niklas 'Viper' Stalvind, which may lead long-time fans of the band to wonder where Wolf's sound has headed now, after so long playing none-too-serious Heavy Metal with their tongues firmly lodged in their cheeks.

What 'Devil Seed' offers is a much more mature and elegant approach for Wolf. Here is the sound of a band that wants to be taken seriously, among existing fans, those who are yet to discover them, and indeed their critics and peers. The opening instrumental 'Overture In C Shark' lays down a darker template than Wolf usually utilise, but it turns out to be a track that is reminiscent in weight and impact to Anvil's 'March Of The Crabs'. This then leads into the first full song, 'Shark Attack'; a slick, streamlined piece of headbanging brilliance that will easily stand as one of the coolest songs you hear this year. Everything from the riffs, to the melodies and the solos make this a propulsive, full-throttle Metal song that grabs your attention.

'Skeleton Woman' is a slow-burner, that almost has an Avenged Sevenfold-esque vocal melody to it. There's a creepy vibe that has an element of catchiness to it, but the following track 'Surgeons Of Lobotomy' fares far better, with an absolute peach of a riff driving it on and on without a hiccup. The lyrical theme follows the idea of humanity's descent into madness. As I said; this album is a lot more mature than previous Wolf albums.

'My Demon' has a great chorus, and sounds like a Judas Priest song that Judas Priest never wrote, 'I Am Pain' on the other hand, features the kind of riff that wouldn't have been out of place on an early Iron Maiden song, again bringing a creepy element to the fray that is a fair contrast to Wolf's usual fun-and-games lark.

Most praiseworthy on this record is the quality of the song writing. Each song is different, but they all have an inherent flavour that give the album a sense of direction and identity that makes it stand out from not only Wolf's back catalogue, but from all the traditional Heavy Metal albums of recent times. 'Back From The Grave' is an accomplished, multi-layered and well executed song that really has everything one can look for in classically-styled Metal. This is also true of 'The Dark Passenger'.

This is the album that should bring Wolf a whole new generation of fans, and it would only be right for this to be the case. Yes, there are many bands channelling the spirit of Metal's beginnings, but Wolf have done so to the Nth degree on 'Devil Seed'. Grand Magus might want to start watching their backs, because Wolf have staked their claim to the riff-writing throne in a stylish and confident manner. Believe it or not, this is essential listening for 2014.


Rating: 9/10

Album Review; Benighted - Carnivore Sublime

Track Listing:

1. X2Y
2. Noise
3. Experience Your Flesh
4. Slaughter/Suicide
5. Spit (Feat. Niklas Kvarforth)
6. Defiled Purity
7. Jekyll
8. Collection Of Dead Portraits
9. Carnivore Sublime
10. Les Morsures Du Cerbere
11. June and the Laconic Solstice (feat. Michael Kern)


The word "Brutality" gets thrown around a lot, but usually all it means is that the album runs constantly at a level of heaviness that even some Metalheads would call unlistenable. Here's the issue though; ten songs that run at a constant show themselves to be tiresome more than anything else, because they lack any sort of dynamic. Without that ebb and flow of musical or emotional variation, what you end up with is stale, ineffective and frankly boring.
'Carnivore Sublime' is not one such album.

From the opening blast of 'X2Y', the gauntlet is thrown down with chaos and huge riffs. This song leads straight into the hook-filled 'Noise'; which establishes that the latest of Benighted's albums takes a lot of influence from Deathcore. That's not to say that the band have turned into a Deathcore band; what it means is that the Frenchmen have incorporated a lot of groove and a decent helping of breakdowns to their Brutal Death Metal sound. It is a different writing style heard here rather than that on 'Asylum Cave', and it may be divisive to fans of the band. This would be a mishap in my opinion, as this record is just as potent as it's predecessor.

The sudden changes in vocal styles between basic screams to throat churning growls and immensely powerful pig squeals, alongside equally as abrupt tempo changes accompany the themes of psychoses that the band write about. 'Experience Your Flesh' shows this brilliantly, before 'Slaughter/Suicide' comes in with all the catchiness of any other band, but still displaying an insane musical palette.

'Spit' features the disturbing talents of Shining frontman Niklas Kvarforth, who fits in with the disturbing nature of Benighted like a glove on a hand. The song itself is strong, too. 'Collection Of Dead Portraits' continues to deliver hooks that you could hang a carcass from. The title track takes a detour into quieter moments that were clearly intended to build tension, but can seem rather unnecessary considering the insane dynamic nature of the album thus far.

Ultimately, last couple of tracks on the record are not as engaging as the rest, but they are not bad songs as such, and so it's really only the flow of the album that can suffer slightly towards the end, but as a whole, this is a strong effort. The first half of the album is so choke-full of truly brilliant songs that it can't really be brought down very far. It'll be open to debate whether this record is as good as 'Icon' or 'Asylum Cave', as well as where else Benighted may take their sound, but this will certainly be one of the most brutal albums you hear in 2014.


Rating: 8/10

Album Reviews; Overkill - White Devil Armory

Track Listing:

1. XDM
2. Armorist
3. Down To The Bone
4. PIG
5. Bitter Pill
6. Where There's Smoke
7. Freedom Rings
8. Another Day To Die
9. King Of The Rat Bastards
10. It's All Yours
11. In The Name


Overkill shouldn't need an introduction. If the Big Four of Thrash were to expand to include a fifth band, Overkill would be a prime contender, alongside Testament and Exodus. This is their seventeenth album over 29 years, and after the universal praise of the last two albums (2010's 'Ironbound' and 2012's 'The Electric Age') expectations are high.

The album opens with ominous noises that make up the intro track 'XDM' before 'Armorist' comes in proper with the kind of stampeding rhythm that Overkill are known for. The riff is simple, but effective and frontman Bobby 'Blitz' Ellsworth's shrieking vocals are still top-notch. It's a well-written Overkill statement of intent that lines the album up well.

'Down To The Bone' comes in with one of the most furious drum displays that Overkill have put to tape before it takes on a new life with D.D. Verni's rumbling bass tone cutting through satisfyingly. There's more of an old-school Overkill vibe to this song that wouldn't sound out of place on 'The Years Of Decay'. Next comes 'PIG', which is easily one of the heaviest and most accomplished songs Overkill have written so far into their career. Blitz gives his vocal chords a real workout here, and the track is packed to the brim with killer riffs. This will have the loyal Skullcrushers going insane at future Overkill shows.

The album as a whole shows the band's darker side of song writing that makes for sneering, sinister Thrash Metal. In this manner, it's not entirely dissimilar to 'Ironbound'. This is shown very clearly on lead-weight slammer 'Bitter Pill', which sees the band slow down, but not the momentum of the album. 'Where There's Smoke' immediately puts things back into top gear. It's another straight-edge thrasher.

Obviously, the star of Overkill is the band's irreplaceable frontman, and his vocal style have always been a large part of their trademark sound; but it's great to hear that even this far into their career, their recorded output lets each musician present shine just as brightly. Be it Derek Tailer's riff-by-riff attack, or Ron Lipnicki's dynamic drumming style which both hold the Overkill sound together at the seams.

Another stand-out track; 'Freedom Rings' shows a more free-form song writing style that has a catchiness all of it's own, showing that Overkill have picked up a few tricks through their long career. 'Another Day To Die' builds around a memorable staccato riff and becomes a stomping powerhouse song to be reckoned with. This then leads into 'King Of The Rat Bastards', which has that real New Jersey fuck-you vibe to it, showing that Overkill have not mellowed with age.

The album concludes with the double header of stop-starter 'It's All Yours', which shows all the hallmarks of the band's Motorhead affinity, even the riff has the Rock 'N' Roll turned Metal sound to it, and the similar 'In The Name', on which Ellsworth flexes his vocal chords for more higher notes. This is an album that is not going to convert those who do not like Overkill, nor will it surprise those who love them. It is a perfect example of "If it isn't broke, don't fix it". Overkill do what they do best, and they continue their streak of greatly impressive albums.


Rating: 9/10

Album Review; Mastodon - Once More 'Round The Sun

Track Listing:

1. Tread Lightly
2. The Motherload
3. High Road
4. Once More 'Round The Sun
5. Chimes At Midnight
6. Asleep In The Deep
7. Feast Your Eyes
8. Aunt Lisa
9. Ember City
10. Haloween
11. Diamond In The Witch House


Mastodon have been a strange band for me to consider for the last while. Obvious things out of the way; 'Leviathan' was a great album, 'Blood Mountain' was solid as well, and both of them gained the band an entire fanbase worldwide. Then came 'Crack The Skye'; without a doubt the best thing Mastodon had done! It's bizarre concept combined with equally as bizarre music that twisted and undulated it's way through all kinds of progressive genius made for a heady tonic that is highly unlikely to be removed from my list of best albums ever made. From there, I was hoping for more aural wizardry from the band. I was massively disappointed when 'The Hunter' came out. The follow up to one of the finest albums of recent years came in the form of a simplistic Rock album that was full of brain-dead riffs, cringe-worthy choruses and irritating melodies. Sure, it gained worldwide appeal, and that's fine if everyone else loved it. For me, however; it was underwhelming, to say the least.

The idea of another Mastodon album since then has brought apprehension and dread to my mind. Questions such as; Are they going to produce 'The Hunter Pt. II'? Are they going to dumb things down even further? Or could my own hopes be granted with a return to form worthy of the musicianship that this band is more than capable of?

'Once More 'Round The Sun' is an odd beast, it turns out. It's clear from the off that the juvenile simplicity of 'The Hunter', I'm glad to say, is all but gone on this album. It's also not an album free of an overall concept. What's on the menu is instead some melodic Progressive Metal that is in some places reminiscent of 'Crack The Skye' without it feeing like the band is repeating themselves. 'Tread Lightly' sets the tone well, but it's on 'The Motherload' that the direction of this album is clarified. The melodicism in the writing and execution of these songs is very clearly on show. There's a good punch to be delivered on those first few songs for those who have the foresight to maybe dig a little deeper into the album.

'High Road' was the first single released from this album, and it's safe to say that it is the most catchy song on the album. That's not to say it's the best song here; it isn't! It's a to-the-point Hard Rock stomper. The Progressive feel is far less evident on this tune than on the rest of the album, and the vocal harmonies at the chorus may sit funny on some people's ears, but it's a grower. One issue that does leap to mind is just how out of place it seems to be among the album as a whole; is it possible that Mastodon have taken to writing singles, in the more cynical understanding of the practice? Was 'High Road' written to appease the more pedestrian fans that they gained with 'The Hunter'?

The title track goes straight into Space Rock territory, with the intricate flourishes on the guitar lines and Brann Dailor's technical drumming that definitely show the band's affinity for bands like Rush and Yes. It doesn't grab you by the throat, and the chorus is definitely a bit flat. 'Chimes At Midnight' and it's follow-up are the closest that the album gets to the greatness of 'Crack The Skye' and is a standout track, considering all the subtle twists and turns present. It also conveys a much darker song writing style than the band used on 'The Hunter'. 'Asleep In The Deep' sways and spins with spiralling, kaleidoscopic guitar lines that are well matched up with rather low-key vocal lines and a general weirdness that has a relaxed vibe coiled through it.

'Feast Your Eyes' sees the album lose track a bit. The opening guitar lines just sound strange and ugly, not in an artistic way, it hits rather like a splinter to the ear canal that does little more than irritate. From there on out the riffs are clumsy and the structure comes across like amateurish fumblings rather than a smoothly crafted piece of music. The abrupt ending is welcome. 'Aunt Lisa' continues the weirdness, with bizarre psychedelic noises sounding like slowed down samples of farts. Such additions are what can kill an otherwise okay song, and perhaps a band such as this could do with learning that there is such a thing as too much. Those noises all but smother a perfectly strong riff! The riff at the end is one of the best on the album, and even a rather tongue-in-cheek female group chant can't stifle that.

'Ember City' is one of the more instantly accessible songs on the album, but it does show that the song writing style on here is all rather samey, and at times there is a little too much going on to digest. As if Mastodon simply cannot sit still long enough to create a body of work that is more concise. Sure, some of the riffs on the songs are pretty damn good, but there's always a long labyrinth of rather boring music that connects them. This is true of most of the songs on the album; the tone and structures all become rather too familiar. Only the most ardent stoner or tripper could put up with so much of this. 'Halloween' is guilty of these faults as well as the praises that have been mentioned, and as such only further displays my point. To be fair though, there's some great guitar leads, not something that has been utilized very much on this record.

'Diamond In The Witch House' closes this album. I rather expected a song that lasts for nearly eight minutes to be a showcase of a few different ideas and a bit more imagination than the band have shown on the majority of this record, instead it's much the same. Herein lies the biggest issue and a subsequent question about 'Once More 'Round The Sun'; Mastodon are a band that have not repeated themselves very much since their inception as a band, and they've amassed great popularity through this, but where this individual's favourite Mastodon record has wowed him immediately, my least favourite has repelled me just as quickly. It's strange to now be faced with a Mastodon album that leaves me with a real question mark over my head. In short, the question is; what direction are Mastodon moving in, musically? If there's an answer to this question, it is not displayed very clearly at all on 'Once More 'Round The Sun'.

In summary, this is far better than 'The Hunter', no question about that. However, it does not have that explosive might that Mastodon have already proven themselves to be more than capable of. In that respect - it is also far from the band's best release. The addition of such an obvious single makes this album all the more worrying. This is a band that has every right to be fearless as far as song writing goes, and that fact makes me wonder if they are running out of ideas, or simply trying to juggle too many ideas at one time. Listen to this album and judge for yourself, of course, but I expect just as many to be confused as to be captivated.

6/10