Music Review: IMPENDING DOOM – The Sin And The Doom Vol. II

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impending doom - the sin and the doom vol. iiIMPENDING DOOM
The Sin And The Doom Vol. II

Five years after the release of their last album, Impending Doom is back with their latest offering of what they refer to as “goreship” metal, The Sin And The Doom Vol. II.

In case you’re wondering where Volume I is at, the title is a reference to their 2005 demo the Sin And Doom Of Godless Men. I don’t have that one, and I doubt I ever will, short of a re-release of some sort. Regardless, this is a review of their new album, so let’s get to it, shall we?

Despite being less than impressed with Death Will Reign, I still was interested in picking up this release when it came out. I didn’t get it the day it came out, mind, because I spaced the release date (it was in April of this year), but did eventually pick it up from Amazon in late August after being reminded that it was, in fact, available for purchase. Better late than never, I guess.

Figuratively popping on The Sin And The Doom Vol. II (it was an MP3 file purchase), we open with “The Wretched And The Godless”, which kicks things off with a standard mid-paced deathcore riff that’s heavy, pounding and brutal…and a bit of the same-old, same old. This is the type of deathcore that they continue on with several tracks off of the album: “Burn”, “War Music” (which goes for a bit heavier and faster riff), “The Serpent’s Tongue” and “Everything’s Fake”. But then you come across a cut like “Evil”, which is easily the best track on the album, as it’s a straight-up brutal death metal track. “Paved With Bones”, “Unbroken” and “Devil’s Den” make good use of groove in the riff, while the final track, “Run For Your Life (She Calls)” makes use of a bit of electronics with the groove riff, making this sound like something current Demon Hunter or War Of Ages would make.

Overall, The Sin And The Doom Vol. II is a fairly decent album. They’re not sticking to the same tried-and-true deathcore formula that has been their trademark since they released their first album back in 2007, incorporating a bit more style in a handful of the tracks. The production, as always, is fantastic, with the music thick and meaty. After this, I’m interested to see where they go from here, if they continue to evolve their music, or stick with what’s safe. As far as the album goes, The Sin And The Doom Vol. II is worth a look-see.


Music Review: REVULSED – Live Atrocity

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revulsed - live atrocityREVULSED
Live Atrocity: The Inception Of Sufferance

In 2015, Australian death metal outfit Revulsed unleashed their debut album Infernal Atrocity upon an unsuspecting metal public. And it did grind my earholes mercilessly. Then, in 2017, they released their first live album, Live Atrocity: The Inception Of Sufferance for those of us who aren’t able to just fly down under to Australia to catch them playing live. Normally, a band would try and get at least a small handful of studio releases under their belt before trying for a live recording. Not that I’m complaining, mind you.

As a live release, Live Atrocity is pretty much no-frills in its execution. For those of you who prefer the band play the songs exactly as they’re produced on the studio album, this is the live album for you. It’s a pretty good testament to how tight and fantastic they are live as they are in the studio, as they flawlessly reproduce the songs on this release. The track listing emulates the same one from Infernal Atrocity, with little banter between the vocalist and the crowd beyond the introduction of the songs and a nice “thank you” after each. The one deviation is the inclusion of a cover of Cannibal Corpse’s “Hammer Smashed Face” as the last song; we hear Damien Miriklis say, “Let’s see if you can guess this one,” and then says the title of the song, which kind of defeats the purpose of guessing, you would think. But, whatever, awesome cover of a Cannibal Corpse classic.

Overall, Live Atrocity isn’t exactly KISS’ Alive, but it’s a very well-produced and high-quality live offering by one of the better death metal bands to come out in the past few years. Right now, I’m really clamoring for new studio material to wreck my speakers with; for now, this will do in a pinch. Recommended.

Music Review: TAKING THE HEAD OF GOLIATH – Taking The Head Of Goliath

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taking the head of goliathTAKING THE HEAD OF GOLIATH
Taking The Head Of Goliath
Rottweiler Records

Since teasing us with a live EP last year, the big expectation for this year was more or less the release of Taking The Head Of Goliath’s first proper studio recording. Also released on the Rottweiler Records label, their self-titled EP was released very recently, and being the dutiful metalhead that I am, I immediately purchased the download, and loaded it up in my media player to give it a listen or two. Or five. You know, to see if the wait and the hype was worth it.

My answer to that last part is GREAT GOOGLY-MOOGLY, this is freaking awesome.

After starting off with a brief kind of ambient instrumental named “Of Sin And Death”, which is mostly keys, synths and some percussion, the EP really rips into your earholes with “Oblivious Into Oblivion”, a straight-forward oldschool gutchurning Death Metal cut that sets to tone with what to expect. “The Expulsion Of Putrid Illusion” is face-blasting grinding with a great riff, while “Trenches” has a good groove with a start-n-stop rhythm going before settling into the standard Death Metal awesomeness. “This Present Darkness” — not a cover of the Deliverance song, in case you’re wondering (but you would know that already if you had the live EP) — is another straight-forward, grinding cut with a blasting brutal riff; “Audacity To Inspire” has kind of a deathcore riff going, then settles into a good hook; the final cut, “Unearthed / Iniquity’s End”, is a cover of the Crimson Thorn classic, ending the EP on a very high note.

Overall, Taking The Head Of Goliath is a brief yet very satisfying blast of much-needed heavy-duty Death Metal. I wouldn’t really call this Crimson Thorn 2.0, as there are some strives to get their own identity, but this does fill in a gap that was left when Crimson Thorn went on hiatus. Taking The Head Of Goliath has cemented me as a fan of the group. This release is highly recommended.

Music Review: DEATH REQUISITE – Revisitation

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death requisite - revisitationDEATH REQUISITE
Rottweiler Records

After one out of print full-length and a handful of EPs, Florida death metal outfit Death Requisite released their first full-length on Rottweiler Records, titled Revisitation, in 2016. Being released on Rottweiler Records made it a bit more available on other sites for purchase than the previous two EPs. If only they would make the first earlier releases available. But that’s neither here nor there. Let’s get to what’s on Revisitation, shall we?

Popping this onto the media player and pressing play, immediately during the opening track “Revisitation”, I can already tell the major plus this release has over the other releases: the production makes this sound fantastic. This works in favor of the style of metal Death Requisite has been honing, as you may recall from the previous reviews, is a tasty blend of melodic and technical death metal, with touches of symphonic and flolk, with a bit of black metal for texture. “Revisitation” has a good opening solo + riff, some tight technical Death Metal going with a nice folk / symphonic midpoint. “Vivens Sanctuarium” features a fantastic mid-paced riff, blastbeats and technical solo work, and has a good atmospheric mid-point. “Veneration” leans more towards a black metal riff and features a blistering shredding solo. “Nova Creatione” has some good use of synths to give this a dark hue, with a bit of a melodic mid-point while remaining good and heavy. “Redemptio Per Deicide” continues with the nice dark, heavy pace with some doomy and symphonic bits, while “Ineluctable Castigation” starts with an acoustic flamenco-style opening, then blasts into a blackened doomy death metal riff. The last track on here, “Recapitulation”, is a 17+ minute epic classical style symphony instrumental, complete with strings, brass, piano, percussion, and eerie choral vocals which is an interesting way to end the album.

Overall, I found Revisitation a good, solid and satisfying Death Metal album, making good use of various musical techniques and throwing in a bit of a curve by the full-on mini classical symphony at the end. This makes me look forward to more releases in the future, hopefully there shall be more of this caliber. Recommended.

Music Review: INVERSION – The Nature Of Depravity

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inversion - the nature of depravityINVERSION
The Nature Of Depravity

So, there I was, at Cornerstone 2000, my first Cornerstone festival as a writing staff member of the Dead E-Zine, where I met the other staff members in person, as well as future staff member Sean “Cesspool” Hagans. It was a great time, there. Anyway, on the last day of the fest, the head editor-in-chief, D-Listr, handed me a pre-release copy CD of an album by a band named Inversion, titled The Nature Of Depravity. I listened to it on the long drive back to Nebraska, and my initial thoughts being it was pretty decent; a straight-up death metal album. I never got around to reviewing it for Dead, or for any of my various blogs, websites or the My Space page. Remember My Space? That page of mine is still floating around out there. But, I digress.

Going back to my initial thoughts on this back when I first listened to it on the drive back, I believe my exhaustion after four days of intense Midwest July heat, sleeping in my friend’s car and more physical exertion than I normally do in a year, I wasn’t exactly in the right frame of mind to really give it a good listen at that time. It’s been over fifteen years from that time, now, and have listened to it more since then, and I can upgrade my initial thoughts to reflect a bit more rounded assessment. Which is, The Nature Of Depravity is far better than I gave it originally.

What you get when you pop The Nature Of Depravity into your media player of choice is a blast of pure, unadulterated Death Metal, old-school and crunchy. Tracks like “Apocalyptic”, “Darkened By Hatred”, “Sex With Death”, “Defilement”, “Salt Solution Homicide”, “Tears From An Angel” and “The Butchering Of Relative Thinking” hits you with great, heavy and furious grinding riffs and hooks, with blastbeats and technical rhythms designed specifically to give you a severe bangover. And while it would be easy to just say, “This is Death Metal” and be done with it, there’s more to this than the sum of its parts. As I said, there’s some technicality involved with the metal here throughout; there’s some dark doomy flavor added to “Unsung Hero”, “Independence” has a good atmospheric bass solo opening before it kicks into the face-blasting METAL, then ends with an acoustic guitar; the song “Thieves” is the biggest shift in tone in the middle of the album, as it’s played completely on an acoustic guitar, with both regular singing and, interestingly, the growled death vocals; the last track, “Damnation Undone”, is a quick, less than a minute blast to end things on.

Overall, The Nature Of Depravity was something of a lucky give, as I don’t see a lot of reviews or posts about this online, and otherwise, I would have just passed it up initially. I’m glad I gave it more than a passing listen, as the metal on here is fantastic old school Death Metal that gets a play on my system more often than not. I recommend picking this up if you can manage to find it.

Music Review: MALCHUS – The Evil House

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malcus - the evil houseMALCHUS
The Evil House
Roxx Records

Malcus is a Polish band that formed in 2004 and released a handful of Polish-language albums, until their 2015 full-length release — Dom Zly — was re-released in an English version through Roxx Records in 2016, under the title of The Evil House. This being the first time I’ve heard of the band, I picked up a download copy from Amazon to give it a listen, and holy livestock of your choice, we need to get more Malcus over here in the States. Like, right now.

In case you were wondering about the name, Malcus was the name of the servant of High Priest Caiaphas who got his ear lopped off by Peter when Jesus was being arrested. Pretty cool, there. Also, I love the cover art, as I’ve been rather interested in the plague mask style for a few years, now. It’s a chilling image of something that’s supposed to be bringing cleansing and healing. But, let’s get to the meat of this album, shall we? The METAL.

So, we begin with the track “The Enemy No. 1”, and right out of the gate, we’re treated to a fast and furious thrash riff that grabs you by the lips and yanks hard, fast and continually. This pretty much sets the pace for what to expect with the rest of the album: really tight thrash metal with heavy melodic death metal leanings with some serious technical prowess with the riffs and solos. Title track “The Evil House” features a freakin’ HEAVY riff, some progressive key changes and an atmospheric keyboard break; “77” has a good, galloping heavy thrash riff following a heavy mid-paced opening hook; “Eyes Open” has a very solemn opening, then progresses to a heavy mid-paced riff on to a faster paced heavy metal bit of goodness; “From Dust” just rips into a fast and furious thrash riff that manage to cram several riff changes into the 4.5 minute run time; “Mother” is a good, heavy mid-paced offering; “Tripidium” features yet another HEAVY furious riff, with some technical solo bits and rhythms; “But Deliver Us” is a bit more melodic, using some keys and violins to give it a doomy, gothic feel; “Creed” has a doomy riff opening, then settles into a good mid-paced riff w/ melodic touches; the album closer, “Winter” ends the album on an acoustic note, which seems more like an outro cap to an otherwise fantastic \,,/METAL\,,/ experience.

Overall…wow. The Evil House was amazing. As I said before, we need more of Malcus in our lives. They just released a new album in 2017, and I’m surely going to try to find their past releases somehow; in the meantime, let’s try and focus our energies on making them easier to get here in the States, maybe? Recommended.

Music Review: DEATH REQUISITE – Second Death

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death requisite - second deathDEATH REQUISITE
Second Death

Fourth EP from Florida’s Death Requisite, and fifth release overall, Second Death continues on with the deliciously tight and dark blend of melodic death metal, with symphonic doom and blackened touches. Again, I came across this on the band’s Bandcamp page, and I’m pretty sure they only released this and the previous EP — Prophets Of Doom — as digital downloads only.

Second Death opens with “Portenous Preludium”, which is, as you may have guessed by the title, is an instrumental intro of sorts, featuring mainly synths, stringed instruments, and a bit of drumming. This then brings us to the first proper song, the title track “Second Death”, which features some grand symphonic style melodic death metal, complete with synths, blistering rhythms and riffs, and some noodling on an acoustic guitar at the end. “Eternal Immortal” then hits you with a fast and furious riff, complete with a blistering solo. The final full length song, “Refuge Of Lies”, begins with some interesting industrial instrumentation, which leads in to a blistering melodic Death Metal attack that will sandblast your face while making you smile while it happens. The final track, “Foreboding Horizon”, is an outro instrumental with rain and thunder sound effects, an acoustic guitar and stringed instruments, keyboards, then an electric guitar solo and bongos. It’s interesting, yes.

Overall, Second Death is another rather good EP of symphonic blackened Death Metal that goes beyond the usual same-old of the genre. Again, like with Prophets Of Doom, I’m including the link to the Bandcamp site. Seems fitting. Fans of Dimmu Borgir style metal should check this out.

Death Requisite – Second Death on Bandcamp

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