Goatwhore - "Blood for the Master" Review

Goatwhore’s fifth release definitely has a more varied sound than previous albums. The band pulls from its sincere admiration for earlier metal acts like Judas Priest and Hellhammer and mixes it masterfully with Goatwhore’s particular brand of fierce and strict black metal. “Blood For the Master” brought me back to my own reverence and love for seventies and early eighties metal bands, making it a fun listen that has the power to take anyone to another time and age.
The album begins with an immediate assault in “Collapse in Eternal Worth,” as the music is immediately extreme and purely black metal with no lead-in or intro to prepare the listener for the assault that follows. The next song slides the mood into a more classic metal influenced piece “When Steel and Bone Meet.” Goatwhore is known for a love of Judas Priest, and it is starting to show on this album. Guitarist Sammy Duet masterfully plays a very classic, wailing solo. His solo in “An End to Nothing” is also very classic metal oriented with notes so high it almost sounds like the manipulation of a Theremin.
“Blood for the Master” holds so many surprises that I had to listen to the album again and again just to hear them all. In addition to Sammy letting loose his guitar, for instance, vocalist Ben Falgoust changes styles during some moments. He hisses softly and menacingly during breakdowns in “Judgement of the Bleeding Crown" that are punctuated in a nearly militaristic march style by guitar and drums, and in “Embodiment of This Bitter Chaos,” the usual over-lay of the vocals is not present. Instead, Ben utters short phrases sporadically in a nearly hardcore style that provides a change-up that needs to be listened to closely. Other elements of the song are also not typical for the band, which begins with a slow fade in with acoustic guitar that adds a silvery and sad lining to a wailing electric guitar before going into the namesake chaos.
“In Deathless Tradition” and “Judgement..." have fairly slow tempos for a band that is known for incredibly fast playing in the style of the black metal progenitors, but that slow beat only makes for a more intimidating sound. Drummer Zack Simmons does very well keeping up with the switching between genres and tempos without any loss of ability during songs like the more distinctive “Beyond the Spell of Discontent” and early metal-inspired sections.
The CD and vinyl album also features striking artwork by tattoo artist Jordan Barlow. “Blood for the Master” shows the band’s foray from pure black metal into a love for classic metal.

Highs: Great mix of black and classic metal that Goatwhore hasn't done before.

Lows: Not the pure black metal the band is known for.

Bottom line: "Blood For The Master" is one of Goathwore's best albums.

Kambrium - "Shadowpath" Review

Some releases just hit me at the right place and the right time. Kambrium’s debut full length “Shadowpath” is the breath of fresh air in the sea of metal released on a monthly basis. Although I may have come to the party a bit late on this one (it having been self-released in June 2011 prior to signing with Massacre Records), I haven’t heard a band this interesting since the first time Epica graced my ears. With such a mashing of styles, had I heard this earlier, it would have been one of my top picks for 2011.
Hailing from the land where great metal lives, Germany, Kambrium has been kicking around the scene for the past six years before landing the contract and debut re-issue with Massacre. The style is so hard to pin down: with a whole lot of progressive, a healthy dose of both power and hyper-fast black metal, a dash of extreme and clean, death and black metal style singing, Kambrium simply cannot be contained. The band is highly talented and certainly loves showing it off. For those up and coming bands that wish to learn a lesson in perfect keyboard placement, you need to listen to “Shadowpath.”
Let’s take the album’s best song “A Sinner’s Remorse” for an in depth analysis. The band weaves a cacophony of styles comprised of the best elements of melodic death, power, progressive, and classical. The song begins a slow ascent to madness, erupting into symphonic power metal with crushing riffs and clean (albeit, not the best) vocals before settling in for a bit of melo-death. Just when you think you can pin the band’s sound down, the song twists and turns, even converting to a cover of Beethoven’s 5th Symphony smack dab in the middle. The result is pure excitement and it stands as one of the best metal songs of all time.
In other notable tracks, the band scales the boundaries of incredible melodic brutality (“Among the Lost,” “Thanatos,” “Feuer Gegen Feuer”), fires off ultra-catchy riffs (“Arming for Retribution”), creates power/death ballads (“Hollow Heart”) and produces epic opuses like “The Eye of Horus” (which is almost as great as “A Sinner’s Remorse"). If you fancy Epica or Insomnium with a seasoning of Dissection, this release screeches out to you.
The only downside is that like most death metal vocalists, Martin Simon’s vocals can be a bit grating on the skull, especially when he varies from guttural to screech in the same song. Fans of the extreme side of metal will scoff at this as a “downside,” but it wouldn’t hurt to hear a little more clean singing to provide balance. On the other hand, Simon is a much better death singer than clean.
Kambrium presents a new face of genre-bending metal, one filled with melody, brutality, and overall excitement. “Shadowpath” is definitely an album to remember and one that should establish the band as one of metal’s finest!

Highs: Highly exciting metal with a indefinable style (or styles).
Lows: The album needs a bit more balance vocally by adding more clean vocals.
Bottom line: Kambrium strikes a blow to those attempting to define metal styles blazing a "Shadowpath" to exciting new boundaries.

Stillborn - Los Asesinos Del Sur Review

Hailing from Poland, Stillborn are a Death/Black metal horde whom simply blow away some of the big hitters from their native country. Judging by ‘Hymn of Destruction’, you can hear a Behemoth influence, an earlier incarnation of them that is. There is thundering cavalcade of sound hitting your receptors. The tacks lengths are pretty much spot on, I cannot stand groups that go on and on with the same riff and melody just for the sake of it. Stillborn hit you hard then leave you for dead, ‘Diamonds of the Last Water’ dutifully emphasises this. 

One thing I also find appealing is the artwork, it’s not your standard black and white devil worshipping contender for art attack, it has a little soul, a little mystery and the way the bands logo is morphed into the colours works rather well to my eyes. Other things that work well is the consistent level of furious musicianship, without the need to go overtly technical, or far beyond necro, the mix of death and black metal sits perfectly balanced, in some quarters you even gain a bit of groove. ‘Los Asesinos del Sur’ (loosely translated to ‘The Assassins of the South’ is the longest track on the release, at over 6 minutes I am expecting something a little different. This is personified with tempo changes from a slow build up to a near SweDeath riff experience until the speed really up’s the mood whilst poking through a little more of their blackened influence, but in this quarter, the change from black to old school death is seamless, I have to commend the level of musicianship and the arrangement. 

Breeding many a killer, certainly no filler, Stillborn (Pol) really have their musical cross genre nailed to a tee. ‘Los Asesinos del Sur’ is both aggressive, entertaining and on the whole, a very good place to spend your time and money.

Ritual (USA) - The Resurrection

After trudging through band after band with the same name, I finally caught up with the one I needed. This US-based black metal band have been together for nearly 20 years (with the same members, except for one change in vocalist very early on) and have been bringing their brand of evil and hate filled black metal to the masses. This is their fourth full-length album and the first on their new label, after a hiatus of nearly ten years. 

This album is decidedly different from the start, with a reliance on instrumental track favoured over nonsensical lyrics. However, when the vocals do kick in, they are more understandable than is usual for death metal, so this is another welcome change. The instumentals are more melodic than death metal, with slofter, slower guitars against a less frenetic drumbeat. The vocals are within the vocalist’s range yet still play about within it. He doesn’t push himself too much, which Is nice to hear. 

The first track sounds very much like it should have been in the soundtrack for The Crow. This change of death metal into a more melodic gentle form is obvious in the guitar hooks and solos. Instead of going full-throttle they slip and slide around each other, either using echoing or doubling of the sound to create depth rather that cacophonous noise. 

This change from the norm makes this a very easy to listen to album, and without the harshness it lets it be moee open to listeners who may not necessarily like the harsh guitars of death metal.

Hail Spirit Noir - Pneuma

The most unique black metal I've ever heard. If a Greek black metal cave dweller murdered the singer of a 60's psychedlic rock band and took his place you would get Hail Spirit Noir. Two members from Transcending Bizarre? make up this astounding two piece. This is mastered by Jens Bogren that also worked with Opeth, Katatonia, and Amon Amarth. It was mixed at Lunatech Studios which worked with Rotting Christ. When you finish listening to this you'll understand why they chose to use both of these avenues.
In "Mountain Of Horror" the guitar tone and keys give it that great vintage psychedelic rock sound. At times I feel like I'm listening to a black metal version of Can. So inspiring to hear someone mesh these styles together so cohesively. "Let Your Devil Come Inside" has some unique clean vocals that slightly remind me of Micheal Akerfeldt. The violin in this track really sets the mood. "Kill your mother while your still in her womb"... haha what a ridiculously awesome line. The drums are an eclectic mix of styles that fit each mood of the music perfectly. He knows when to be intense and other times reserved with tones of feel and syncopation. "Against The Curse, We Dream" is one of those progressive tracks that draws your thought process out. "When All Is Black" is like Opeth meets a jazz symphony with a mix of clean and wretched vocals. At the end of "Into The Gates Of Time" there is ambient pond noise for almost three minutes. Unique idea that is well placed on the album and is relaxing. The large swell of the hum of insects and amphibians at night is entrancing and cleansing. Throughout the album there is a wide variety of vocal styles. There is also a handful of fantastic rock solos pitter pattered throughout the record. Any true guitar lover would fall head over heels for this record. Even the bass tone and riffage is spot on.
Once again I must reiterate that this is the most unique forward thinking black metal record out there. I'll go as far as to say this is one of the most unique albums ever.

Midnight - Satanic Royalty

"Satanic Royalty" track listing:

1. Satanic Royalty
2. You Can't Stop Steel
3. Rip This Hell
4. Necromania
5. Black Damnation
6. Lust Filth And Sleaze
7. Violence On Violence
8. Savage Dominance
9. Holocaustic Deafening
10. Shock Til Blood



Ohio black thrashers Midnight has eight years of small records, EPs, compilations and singles. “Satanic Royalty,” released through Hells Headbangers, is the group’s first full-length recording. The ten songs that comprise the track listing result in the short playing time of less than half-an-hour. Each track doesn’t move at the barn-burning speed of Slayer’s “Reign in Blood,” which should be in the dictionary for short, thrash albums. The leather-and-bullets attack of Athenar is simple and to the point. There are few brief instrumental jams—just straightforward verse and chorus.
“Satanic Royalty” is a nod in the direction of black metal’s blasphemous first wave. When NWOBHM joined speed metal, the unholy matrimony produced bands like Slayer, Bulldozer and Celtic Frost. Of course, many tracks resemble the forerunners to the above bands—Motorhead and Venom. “Necromania” features the mid-paced punch of Celtic Frost and Darkthrone. Functioning on a single guitar riff, the placement of vocals, drums and bass introduce variation. This riff and the accompanying chorus lines are so damn catchy that “Necromania” never becomes boring.
“Black Damnation” shows the group following Celtic Frost’s metallurgic formula. While producing more notes than some of their doomed catalog, “Black Damnation” has that slow, warped vibe associated with Tom G. and the boys. It’s like hearing a Motorhead record played at 33 RPMs. The bluesy, Mercyful Fate-type opening chords issue a good contrast to the barbaric, strumming rhythms that define the song. “Shock ‘Til Blood” and “Lust Filth and Sleaze” perfectly capture the spirit of Motorhead, which one would expect just by the title of the latter track. A bass solo sets a trail for the booze-fueled punk rock direction that defines “Holocaustic Deafening.” Fist-pumping NWOBHM addicts will drool “Venom” upon hearing “Rip This Hell.”
“Satanic Royalty” finds a good balance in being extreme, but not to the point of sounding shitty. The album has strong production values, bereft of the sterile, digital sound that characterizes much of today’s metal, but it lacks impurities such as the white noise heard on cassette tapes. Athenar has an aggressive vocal style, but one can distinguish every word he shouts. “Satanic Royalty” is one of those albums that are increasingly hard to find these days, as listeners can both sing and bang their heads. The only issue with this album is the length. The group could have added more solos and riffs as well.
Highs: "Satanic Royalty" contains plenty of air-punching, head-banging riffs and memorable vocal lines.
Lows: The album is quite short, less than a half-hour.
Bottom line: "Satanic Royalty" is a strong speed/black metal album, and length is its only negative feature.

"Satanic Royalty' is one of those albums that are increasingly hard to find these days, as listeners can both sing and bang their heads."

web : http://www.hellsheadbangers.com/midnight/