England’s Malefice
are back with their catchy brand of death metal with the release of
their second album through Metal Blade Records “Awaken the Tides”.
Although there seems to be some argument over how exactly to categorize Malefice;
I’ve seen them described as ‘death metal’, ‘heavy metal’, ‘deathcore’
and ‘thrash metal. For this website’s sake we’ll just make it simple
and call ‘em ‘melodic death metal‘. Anyway, these guys are great. I know that sounds fairly succinct, but it’s true! This was my first opportunity to sample Malefice and I will definitely list them as one of my favorite metal bands of 2011. Malefice blends different subgenres of metal and they do it
damned well; which is why I’m assuming it’s so hard to classify them.
Although they can be a little too poppy for me at times (as in tracks
“Minutes” and “The Day the Sky Fell”), the rest of the album fucking
rocks. If you don’t like the title track “Awaken the Tides” from the
new Malefice album, then you won’t like the rest of it.
In the early 80's, a one of the first bands from the blackened thrash
metal movement appeared, the German outfit known as Outrage. Of course,
blackened thrash metal led the way for what we all know as Black Metal.
These pioneers of metal joined together in 1983 and remained in the
underground for several years. They split in 1988 and reformed in 2004.
Now, in 2011 these German metallers bring us a a release in the vein of
raw blackened thrash entitled "Go To Hell". Although these are not new
songs, they are new recordings of selected classics from the band's
past.
Staying true to their sound and leaving out modern day techniques,
"Go To Hell" takes us on a journey through the band's tremendous past.
The drums are raw and the guitar is heavily distorted. Throughout the
album you will find alternating melodic rhythms with brutal riffing and
heavy bass lines. The vocals are especially tremendous. The raspy, deep,
and vile style of frontman, Frank P. "The Voice Of Hell", gives the
album it's intensely classic blackened metal touch.
Overall this is a fantastic release and those who enjoy classic blackened thrash will definitely want to pick this one up.
This Polish-based post black/avant garde metal band focus their songs
primarily on misanthropy and spirituality. Formed in 2004, this is
their second release after considerable changes in their 8 year
history.
This album is very special, in that it uses the innovation
of the avant garde not to detach itself from its fans, but to
ingratiate itself deeper. The use of different vocal effects – such as
slowing down the vocal, speeding it up, changing pitch, etc. all
contribute to the uniqueness of this work.
It’s a very hard listen first tine round, but it is on the
second and subsequent listens that it becomes easier to take in and
digest. It’s varied and technical, with solid work from each of the
members. The instrumental is tight, with the odd guitar squeal over
drums being a main element of their music. The lyrics are varied, as are
the vocalist’s talents. It goes across his whole range from the
screechy screamo, to the normal, and then into the deep dark depths
vocally.
It’s black metal roots shine through, in the way some of
the songs are performed, but without the screechy unintelligible lyrics.
This is a really nice diversion within the genre, and shows not only a
black metal background, but the ability to twist and change what is
heard, subverting expectations.
Bleeding Through is back with their 6th full length entitled The Great Fire
which hits stores January 31st. Already at legacy status years ago,
Bleeding Through continues where they’ve always been: fast and heavy.
Their no bullshit approach has always been appreciated by fans and
critics. Never succumbing to trends or gimmicks, Bleeding Through will
always be true to the underground metal scene.
As the original crop of black metal
legends fade out or move on to new sounds, it’s up to a new generation
of grim musicians to keep the banner waving. While many have merely
imitated the sound, just enough of them actually hold true to the ideals
of the genre and take the style further into new territory.
Simultaneously jarring and harmonious, the debut offering from Dutch act
Dodecahedron runs along the razor thin edge between two worlds and
strikes all the right chords to be a properly disturbing black metal
release that isn’t overly derivative.
The self-titled effort is billed as post-black metal, and that’s a
nebulous enough term that it may or may not actually fit the music.
Anyone seeing that particular genre identifier definitely shouldn’t
think they are in for an ambient or atmospheric trip along the lines of
something like Falloch, however. There may be some calmer sections here
and there, but “Dodacehedron” is pretty uniformly crushing for its
duration.
If the music was to be compared to the output of any other band, it
would have to be Deathspell Omega, as the album is strongly in the same
sort of spirit as the “Paracletus” release, even if the delivery ends up
a bit different. The focus is on amazingly heavy yet completely
discordant sounds, but there’s still an underlying melody that
occasionally comes to the forefront. When they do appear, the melodic
aspects don’t disappoint and are appropriately unhinged and bizarre, of
course. Dodecahedron’s vocalist spits out his screams and shrieks like
death curses at his enemies, as this is straight up spiteful music with a
grudge that just won’t let go. Alternating between frantic blast
beating black metal and music with a more measure pace that goes past
eerie into frankly unsettling territory, these songs are a constant
assault on the senses that can leave a listener disoriented.
“Dodecahedron” creates the sort of feeling that one can’t help but
imagine was experienced by the first terrified religious parent to be
exposed to unholy black metal in all its fury. This is music for people
who like to be actively disturbed by their metal. These guys have a
direct line to the darkness of the human soul, and they aren’t afraid to
share it.
Highs: A tight balancing act between totally discordant and eerily melodic, all while being massively heavy. Lows: The space themed interlude track doesn't perfectly fit the mood of the rest of the album. Bottom line:Massively heavy and slightly disturbing black metal that hits the right balance of discordance and harmony.
"'Dodecahedron' creates the sort of feeling that one can’t help but
imagine was experienced by the first terrified religious parent to be
exposed to unholy black metal in all its fury."
If Swedish doom legends Candlemass had a
manic depressive bastard child with Finland’s Insomnium it would sound a
little something like Dutch band The 11th Hour. Outside of the
soulfully depressing musical effort of “Lacrima Mortis,” the more
surprising fact is that it is the work of largely one man, Ed Warby (who
sings and plays guitar, bass and drums). Warby has the uncanny knack of
making you enjoy sadness and despair so such that you couldn’t even
consider suicide, as death would only prevent you from listening to this
even more.
“Lacrima Mortis” is a sonic masterpiece that should be in the collection
of any fan that considers him/herself a fan of epic doom metal. The
music so effectively captures the overwhelming emotion of depression
that anyone who hasn't experienced it could instantly feel pain and
those who have could easily identify.
In front of the slow deliberate riffs that practically weep with sorrow,
Warby flashes his incredible dead on impression of Candlemass/Solitude
Aeturnus singer Robert Lowe. Juxtaposed to the beautiful rich clean
singing are the death growls of session vocalist Pim Blankenstein
(Beyond Belief/Officium Triste). Blankenstein’s vocals with Warby’s
riffs are a convergence that would make the most bubbly personality sob
with despair. With each successive listen, I have visions of being
slowly suffocated under a truck as it inches ever so slowly on top of me
crushing my chest.
To explain each of the album’s seven songs on an individual basis would
be like recanting each despondent year of a seven year era of anguish.
Suffice to say that they are slow, dripping with tears and fresh from a
funeral for a grave with no name, only this may be one funeral you
wouldn’t want to be skipping out on! The grim beauty of “Rain On Me,”
the “Cry From the Crypt”-esque riff of “Tears of the Bereaved” and the
quiet interludes in the middle portion of “Reunion Illusion” are but
mere glimpses of brilliance that permeate throughout this gorgeous
album. These pieces, along with perfect use of keyboards and violins
(“Nothing But Pain”), all wrapped inside breath taking production have
me declaring that Mr. Warby has risen to the level of “super musician.”
Listeners expecting enticing and uplifting songs need not apply for
“Lacrima Mortis.” However, those who truly appreciate excellent doom
metal that is as much a sonic listening experience as it is an emotion
altering one, The 11th Hour is sure to rise to the top of your doom
metal collection.
Highs: Overwhelmingly emotional and crushing doom beauty Lows: The average song length of 7.5 minutes could prove too much for some. Bottom line:The only reason to attend a funeral for a grave with no name: sorrowful doom is so uplifting!
"[Ed] Warby has the uncanny knack of making you enjoy sadness and
despair so such that you couldn’t even consider suicide, as death would
only to prevent you from listening to this even more."
