Soreption has just released another track from their upcoming album, Engineering the Void. And oh my god, it is absolutely shredtastic. Yes, I just made that word up and I don't care. This album is going to rule. I can't wait to pick it up! In the meantime, check out their newly released song at the link below:
9. Planetary Duality II: A Prophcies Fruition (5:28)
In 2013, The Faceless underwent a serious makeover in terms of membership. In less than a year, the well-renowned technical death metal act from Encino, CA has seen the departure of more than half its' bandmates who were present on Planetary Duality. Derek Rydquist (vocals), Steve Jones (guitar), and founding member Brandon Giffin (bass) have all made their exit from The Faceless, leaving only Michael Keene (guitar) and Lyle Cooper (drums) as the only remaining members from the album which is the subject of this review.
Planetary Duality is, in my opinion, the band's best album. It is more refined than their debut release, Akeldama (2006), and more focused than their most recent release Autotheism (2012).
Legion of the Serpent
Every musician in this band is extremely talented and their vocalist has one of the most abrasive (in a good way) voices in death metal. The guitar playing is incredibly fluid and smooth. Every note is clearly articulated whether the playing style is legato, sweep picking, or economy/alternate picking. The drums are an impressive collection of blast beats and other stylistic arrangements that are common in modern death metal. Even the bass playing stands out impressively (see the intro to "The Ancient Covenant", while many other bands have bass as only a footnote or backdrop.
If you're looking to get into technical death metal, this is a fantastic album to start with. It's nuanced, refined, energetic, eery, and in-your-face. I stumbled upon this album several years ago and I still listen to it on a regular basis.
The Ancient Covenant
I think it's unlikely The Faceless will have a lineup that surpasses (or even matches) the core group they had when they recorded Planetary Duality. Nonetheless, this band still has a bright future and remains one of the best bands in all of technical death metal. If your ears haven't had the pleasure of being exposed The Faceless before, do them a favor and blast this masterpiece in your speakers.
Final Rating 10/10
MASTERPIECE
3 Favorite Songs from the Album: The Ancient Covenant, Sons of Belial, Planetary Duality II
It's tough for me to think of an album that I'm more excited to be released than Soreption's upcoming cut, Engineering the Void. Like most Swedish death metal bands, Soreption is just straight-up nasty. Their riffs will send adrenaline coursing through your body quicker than Nikki Sixx can say "kickstart my heart." Okay, that's a lame reference but it's late and I don't care. If you don't believe this album is going to absolutely melt your face off, then please check out the linked content below to be proven wrong beyond a reasonable doubt.
Engineering the Void Album Teaser
Check out the video on Revolver Mag for their latest track, "Breaking the Great Narcissist".
Incongruous, which came out on Valentine's Day (how romantic?!), was one of the most highly anticipated releases unleashed in the early months of 2012. It's been almost four years since the last full length Beneath the Massacre record dropped, so fans have been waiting quite some time for this album.
This record has everything we've come to expect from a BTM release: ultra-fast drumming, insane sweep picking and tapping guitar parts, fat bass tracks, and crushing vocals (oh and a few breakdowns as well). One thing that became clear to me as I was listening to Incongruous is all the band members have improved at their instruments dramatically. This record is pretty much a clinic displaying the unfathomable skills of Beneath the Massacre's instrumental work.
Symptoms
Christopher Bradley (guitar), Dennis Bradley (bass), and Justin Rousselle (drums) all most certainly have musical chops. This is undeniable, but this is not to say this album is without its' problems. Incongruous is a rather difficult album to digest at times. There isn't much variety in the guitar riffs or the drum tracks throughout the record. Most times it just seems to be a collection of insane blast beats, sweep tapping licks, ultra-fast double bass, interspersed tremolo picking riffs, etc, etc, ad infinitum. I've listened to this release all the way through several times now and there aren't many parts that stick out in my mind. While previous BTM albums, such as Mechanics of Dysfunction (2007), had a number of memorable riffs, Incongruous is unfortunately lacking in this department.
I get the feeling that Beneath the Massacre was looking to push their boundaries in terms of technicality on this release (which they certainly did). However, they sacrificed some variety and originality in the process and I think that's unfortunate. No one is going to dispute that these guys are proficient at their instruments. Every song shouldn't have to be arranged to show what crazy sweep tapping riff Bradley can play or how fast Rousselle can pummel his drum kit.
Left Hand
I don't want to spend this whole review doling out criticism though because Incongrous is a really good album that has plenty of bright spots. My favorite track on the record is the fifth one, entitled "It". "It" shows what incredible potential Beneath the Massacre has to craft music that is not only technical for the sake of being technical, but also incredibly catchy and memorable as well. They display their technical prowess on this track without sacrificing melody or brutality.
It
One aspect of this record that impressed me was Elliot Desgagne's vocals. While I've always felt that Desgagne's technique has complimented Beneath the Massacre's instrumental style well, his vocals have never really stood out to me in comparison with other vocalists in the genre (like Derek Rydquist of The Faceless, just to name one). He has really come into his own on this release and his vocal style sounds more refined than on their previous records.
Ultimately, while I don't feel this is BTM's best record, it is an excellent release and one that continues to grow on me the more I listen to it (in large part, the more I listen to "It"). I like the direction Beneath the Massacre's sound is going in and I hope they continue to develop both their technical skills and variety (though, the latter is what they need more of at this point). When people come to me for death metal recommendations, Beneath the Massacre is always one of the first bands I mention. This won't be changing anytime soon and I am rather pleased with the latest release from this Canadian technical death metal outfit.
Final Rating: 8.5/10
3 Favorite Songs from the Album: Symptoms, It, Damages
Wow. Psycroptic have outdone themselves once again. Coming off their latest release, Ob(Servant) (2008), I found it difficult to conceive that this Australian tech-death quartet would release an album even better than that excellent record. Much to my delight, I was mistaken. Psycroptic has crafted another masterpiece.
The Inherited Repression marks the fifth full length release for Psycroptic, and in my opinion, it's their best album to date. This is not something I'm putting lightly. I consider Ob(Servant) among my all-time favorite albums and it's a masterpiece in its' own right. I've spent the last two weeks alternately listening to both those records so I could figure out which one I thought was better. The Inherited Repression wins by a hair.
One of the things I love most about technical death metal is that the genre keeps getting pushed to new extremes each and every year. A large factor in determining this trend is the fact that the musicians who started the genre are all getting better at playing their respective instruments as time goes by. In addition, many of these bands (Psycroptic among them) are developing a more mature sound with each new release. On the whole, this is the most mature-sounding album Psycroptic has recorded.
Carriers of the Plague
One aspect of this album that makes it stand out from other technical death metal releases is the flow of the music. The songs aren't just a collection of notes and complex riffs thrown together in order (many other technical acts are guilty of this type of song construction). The drums and guitar really groove and weave together well, making each track feel more organic than contrived.
I don't want to downplay the technicality of this release, though, because the songs on here are very intricate. Joe Haley effortlessly blends chord progressions with elaborate fills that connect his riffs together. His legato playing style is, in my opinion, developed to its highest level yet on The Inherited Repression.
Unmasking the Traitors
This song really gives the listener a good example of Joe Haley's signature legato guitar style.
Dave Haley's drumwork is also superb and his skills are put on display well here. What separates his playing from that of many other drummers in the genre is his variety and flow. Haley doesn't constantly lay down blast beats and ridiculously fast double bass play (although these aspects are present at times, as they should be on a death metal record). He alternates between a mixture of different styles instead of just blasting his kit as fast as humanly possible. Interesting cymbal work, alternately slow and fast-paced beats, and varied tom fills can all be found throughout the record. "From Scribe to Ashes" is a good example that highlights Dave Haley's variations:
From Scribe to Ashes
The bass is not very prominent on this record, but in the end, this doesn't detract from the quality of the release. Cameron Grant's bass work provides a solid backdrop to some heavy and groovy riffs but isn't featured as much as some other technical death metal acts, like The Faceless or Anata.
The vocals on this record are interesting in that they bear little resemblance to Psycroptic's earlier works, such as The Isle of Disenchantment (2001) and Symbols of Failure (2006). They aren't classic death metal vocals, but are a closer kin of modern thrash metal records. In any case, Jason Peppiatt makes it work and delivers a great vocal performance on The Inherited Repression.
In conclusion, Psycroptic has proven their worth yet again as one of the most interesting technical death metal bands in the world. I predict this album will be one of the best death metal records to drop in 2012 and it will certainly be blasting through my speakers for months to come. You owe it to yourself to listen to The Inherited Repression. What are you waiting for?!
Final Rating: 10/10
MASTERPIECE
3 Favorite Songs from the Album: Carriers of the Plague, Unmasking the Traitors, Deprivation
Honorable Mention: Every other song on the album...
Decapitated’s fifth studio album, Carnal is Forever, is a landmark album for a number of reasons. It is the first album they’ve released to feature a photographic image as the cover, as opposed to artwork made from scratch. It also is their first album to feature clean guitar parts. Most importantly however, Carnal is Forever represents the comeback album for Decapitated after the tragic death of their drummer and founding bandmate, Witolk “Vitek” Kieltyka, in 2007.
Vitek passed away after sustaining serious injuries in a bus accident while Decapitated was on tour in Belarus. He was only 23 years old.
After Vitek’s death it was uncertain whether Decapitated would continue on or not. Vitek wasn’t simply a band member – he was also the brother of lead guitarist Waclaw “Vogg” Kieltkya, who formed the band with Vitek in 1996 when they were just kids (Vitek was 12 and Vogg was 15). Vitek was one of the centerpieces of Decapitated, both musically and personally, and he would be very difficult to replace.
Vitek was 15 years old when Decapitated recorded Winds of Creation
Decapitated went on hiatus in the aftermath of this tragedy. Adrian “Covan” Kowanek, Decapitated’s lead vocalist since 2005, left the band during this period of disbandment. He also suffered major head injuries in the 2007 tour bus accident and was even in a coma for a period of time. His slow recovery and the hiatus led him to leave Decapitated. He’s now the lead vocalist for the death metal band, Atrophia Red Sun. In addition to this, bassist Marcin “Martin” Rygiel exited the band, leaving Vogg as the only remaining member.
In 2009, Vogg announced that Decapitated would indeed continue on to make music and he recruited a new team of musicians to work on new material. The result of this process is Carnal is Forever.
The Knife
When I first heard the album preview that was posted on the internet early this summer, I was really excited to hear the record in its entirety. The best way I can describe my feeling when I was actually able to hear all the tracks on Carnal is Forever is by way of parallel. I felt like I had just seen a preview to what appeared to be a really hilarious movie, only to find out that all the best jokes had been included in the trailer.
This judgment is probably a little bit too harsh. It’s not as big of a letdown as the new Morbid Angel release (which was just a bad album). I just set the bar a little too high. I expected a death metal masterpiece but was greeted by a good album instead. There are some really good tracks on this record, like “The Knife” and “404”, but there are also some weak spots that left me a little disappointed.
United
While I really like the punchy distorted guitar sound Vogg uses on this record, a lot of the riffs end up sounding the same as the album progresses. There aren’t as many memorable riffs as one would expect on a Decapitated release. There are some really cool guitar licks and interesting measures, but much of it blends together over the course of the record.
Decapitated also features clean guitars in their music for the first time on this album. I like that they’ve decided to bring that to the table. Unfortunately, they don’t really do anything all that intricate or inventive with it. It’s mostly just there to provide atmosphere and at times sounds boring (as it does in the middle of the title track, in my opinion). The best use of clean guitar is on the song, “Silence”, which is completely void of distorted guitar work.
Silence
One of the uses of clean guitars on the record
The new drummer, Kerim “Krimh” Lechner, is pretty good but he’s certainly no Vitek. He has a speedy brutal attack and good timing, but so does a thousand other death metal drummers in the music world today. In other words, Vitek's drumming skills are noticeably absent on this record.
The general direction of this review has been kind of negative, so I just want to take a moment to say that Carnal is Forever IS a good album. It’s just not on the same level as some of Decapitated’s previous landmark releases, such as Nihility and Organic Hallucinosis (not to mention their debut album, Winds of Creation). That being said, Decapitated has had to overcome a lot since the loss of Vitek. It’s not easy to create a new album after the passing of one of the most skilled death metal drummers to have ever lived, not to mention the departure of all band members except for one. I think Carnal is Forever is a good tribute to Vitek’s memory and I’m happy to see that Decapitated is marching forward even after suffering such tribulations. I think the musical foundation they've created with this record will be built upon with better records to come down the road. I'll patiently wait to see what Decapitated does next. They will be headlining a North American tour with Decrepit Birth and Fleshgod Apocalypse this fall, so definitely go and see them live if you get a chance.
Final Rating: 8.5/10
3 Favorite Songs from the Album: The Knife, United, A View from a Hole
Author's Note: This album has grown on me a lot over the past few months the more I've listened to it. I think my first rating of 7.5 was too low, so I've changed my rating to an 8.5/10 (March 2, 2012).
Fleshgod Apocalypse is back and better than ever with the release of their second full length studio album, Agony. This album has everything fans have come to expect from the Italian death metal act – insane drumming (well over 200bpm at most times), fast-paced guitar work, incredible guttural vocals (with the occasional high register clean vocals provided by bassist, Paolo Rossi), and orchestral elements to provide atmosphere.
Fleshgod Apocalypse now has a full time keyboardist, Francesco Ferrini. The result of his inclusion is the band can employ more orchestral and keyboard parts in their compositions. Whereas orchestral elements previously only added a bit of color to FA’s songs, they have now become an integral part of all the tracks on this new record. In my opinion, they pull it off really well (blending keyboards with a brutal death metal assault isn’t exactly the easiest thing to execute).
Music Video for "The Violation"
(they dress like this when they play live shows too)
Personally, it is the drums that really make Fleshgod Apocalypse stand out from other bands in the genre. Francesco Paoli is one of the most exciting death metal drummers out there today. His precise blast beats, motoring double bass attacks, and involved fills provide an intense backdrop to FA’s music. Without Paoli’s relentless drumming, I think Fleshgod Apocalypse would be just a good band. Paoli takes them to the next level and makes them a great band.
The Egoism
Agony truly represents a major step forward for Fleshgod Apocalypse and demonstrates how well they’ve honed their musical attack. I still listen to the Mafia EP (2010) more than I listen to Agony, but overall I have to say that this release is the best work they’ve put out so far. I’m very excited to see where Fleshgod Apocalypse goes next. They’ll be touring North America this fall with fellow death metal stalwarts Decrepit Birth and Decapitated. Be sure to check them out if they come near you, because they are a great live act as well!
Final Rating: 9.5/10
3 Favorite Songs from the Album: The Violation, The Egoism, The Betrayal
I first heard about this band (via Allegaeon’s Facebook page) on the day this record was released. Anytime I hear about a new or “up and coming” technical death metal band I get very excited. Technical prowess is one of the biggest reasons I am drawn to death metal, and let me tell you, Vale of Pnath has no shortness of technical instrumentation in their compositions.
The Prodigal Empire is the first full length album by the Denver technical melodic death metal outfit. For those who have heard their 2009 EP, this record builds on the sound they created on that release and takes it to a whole new level.
Mental Crucifixion
(really cool riff around 4:49)
This is the best album I’ve had the pleasure of listening to so far this year. It has everything that one could want in a technical death metal record: intricate guitar work, melodic elements, a brutal drum attack, heavy bass to complement the mix, and a solid interchange between black and death metal vocals. Oh, and with lyrics inspired by the Arnold Schwarzenegger movie Total Recall, what’s not to love?
"Start the reactor"
In my opinion, the pinnacle of the album is the last three tracks that close out The Prodigal Empire. “Time of Reckoning” begins with a marching guitar riff that continues without pause alongside the backbeat of the drums and bass. Eventually, towards the middle/end of the song, melody begins to cut through the mix. The last half of this song is truly beautiful and any fan of melodic death metal should love it.
“Sightless” is the most brutal of the last three tracks. I won’t even ramble on about it here. Just go listen to it for yourself (link below, of course).
Time of Recknoning
Sightless
Every so often I listen to the final song on a record and think to myself: “that was the best song they could have written to end this album”. “Cerulean Eclipse” is a perfect conclusion to The Prodigal Empire. It is an excellent representation of all the best elements of the album – especially in terms of technicality and melody. The riff that cuts in at roughly 35 seconds into the track is my favorite guitar part on the whole album. Everything that follows thereafter is mind-blowing as well. I dare you not to like this song.
Cerulean Eclipse
I strongly recommend The Prodigal Empire to any fan of death metal music (particularly those who like technical or melodic death metal). It is an absolutely brilliant record that has been in my regular listening rotation for weeks (and will probably remain there for many weeks to come). Vale of Pnath represents one of the brightest spots in American death metal today and I am excited to see what they’ll bring to the table in the future. Hopefully, they’ll go on tour soon and play their awesome brand of death metal all over the country. GO CHECK THEM OUT NOW!!
Final Rating: 10/10
MASTERPIECE
3 Favorite Songs from the Album: Mental Crucifixion, Time of Reckoning, Cerulean Eclipse
Many people like to stereotype metalheads as mindless, unintelligent Satan worshippers who are lucky if they have enough brains to acquire a high school degree. Having a PhD in their midst (bassist Henrik Drake has a PhD in geology), Anata certainly smashes this common misconception, proving once again that metal is more often than not an intelligent musical style. Technical death metal is particularly demanding and requires extreme proficiency in playing your instrument as well as having a background in music theory and song structure. Anata passes all the litmus tests that define a great metal band – precision, talent, brutality, melody, etc.
Hailing from Varberg, Sweden, Anata was formed in 1993. The band initially experimented on their songs by mixing a variety of different styles of heavy metal. Following two demos and some lineup changes, Anata got signed to a French label and recorded their first album soon afterward. By the time of the release of this album, The Infernal Depths of Hatred (1998), Anata had already developed their signature style of technical death metal. The influence of Swedish melodic death metal is easy to detect in Anata’s music. Their melody often sets them apart from many of the Canadian acts that dominate the genre of technical death metal. This can easily been seen on their first album.
The Infernal Depths of Hatred is an absolutely brilliant album. The songs seamlessly alternate between heavy brutal riffing and melodic passages throughout the entire album, creating a symphony of chaos that still maintains tight control musically. This release is most satisfying if listened to from start to finish in its entirety. It really feels as though it was written with the intention of being listened to in this fashion. Each song perfectly complements all the other tracks on the album, creating a unifying sound.
“Released When You’re Dead” opens up the album with a bludgeoning assault of death metal. See the link below:
Released When You're Dead
This album is epic and captures the sound and themes of desperation. This is perhaps best heard on the song “Slain Upon His Altar”. The song starts with a melodic bass intro that quickly gives way to an aggressive guitar melody that reminds me of something from At the Gates or Paths of Possession. This song really paints the picture that is indicated by the title of the track, and I really think it encapsulates all the themes of the album both lyrically and musically.
In particular, the last four songs of the album sound like they could be combined into a single epic super-song (though I really think all the songs on Infernal Depths are inseparable and complement each other brilliantly). That is how unifying their overall sound is. Each track flows directly into the next one through the end of the album. “Aim Not at the Kingdom High” is the best song Anata could have ended the release with. It’s a perfect combination and representation of all the styles employed on this record.
Aim Not at the Kingdom High
While The Infernal Depths of Hatred is not as refined as their latest release, The Conductor’s Departure (2007), it is certainly a masterpiece and is among the best technical death metal albums I’ve listened to yet. It captures a certain raw feeling that isn’t quite as present in Anata’s later records. I highly recommend this album to anyone who is a lover of death metal and wants to hear a standout band from this impressive genre.
Final Rating: 10/10
MASTERPIECE
3 Favorite Songs from the Album: Released When You're Dead, Slain Upon His Altar, Those Who Lick the Wounds of Christ
*Author’s Note: This review was originally posted on another blog I had called Fucking Death Metal. I’ve decided to repost some of my reviews from that blog on this one, with minor revisions.
