So this is a review of an album by a Swiss band being written by an Egyptian guy living in Egypt and published on a website run by a guy living in Sweden. Don’t you just love the Internet? Anyway, Eluveitie is indeed a very Swiss band that draws its influences from the roots of the land; medieval Helvetian and Celtic history. Since I did not study European history or Anthropology at any level, I can’t verify the accuracy, relevance or truthfulness of the stories being told on Helvetios. What I can verify, though, is that the music is quite interesting; especially if you haven’t heard Eluveitie before. They use the standard metal gear of distorted guitars, drums and bass and they’ve added a multitude of native folk instruments to complement and emphasize that snapshot of medieval Europe they’re creating with their music.

Helvetios is not the first Eluveitie album that presents this initially captivating amalgamation. This has been their standard operating procedure from the get go. The reason I said ‘initially’ there is quite personal. When I first listened to their 2010 effort Everything Remains (as it Never Was), I was indeed captivated by the mere sounds of the instruments that were alien to my rusty ears. After a few listens, I got used to the Eluveitie setup and started to see past that first impression. The result wasn’t as surprising but still not bad at all. Song structure wasn’t very adventurous and the album felt more like it was a collection of songs cast in the same die than a fully coherent piece of work.

But all that is in the past. We have Helvetios now; a seventeen-track effort that stays true to its roots. Some might accuse Eluveitie of copying Dark Tranquillity while adding some weird instruments to make themselves stand out, but guess what? That’s not too far off from the truth. [In fact, that was the thrust of my entire review of their previous album. - AMG] The music is indeed standard Gothenburg-style melodic death metal but I wouldn’t label this as plagiarism because they do have their own sound. “Meet the Enemy”, “Helvetios” and “Havoc” are some of the straightforward bludgeoning tracks that don the folk melodeath cloak while cuts like “Scorched Earth”, “Hope”, intro “Prologue” and outro “Epilogue” create an atmosphere that supports the story. Yup, there’s a story. The reason why Helvetios tops Everything Remains (as it Never Was) in my book is that Helvetios is actually a concept album. The story behind it, of course, comes from medieval Helvetian and Celtic history and some parts of the lyrics are sung in the extinct Gaulish tongue.

So there’s a lot to absorb from Eluveitie and labeling them as ‘just another folk metal band’ would be quite unfair. However, I do feel the obligation to point out that there’s a high possibility that they won’t really please the tech-geeks. Individual showmanship is not what this Swiss bunch is about and that can make them sound a little stale after a few listens. Their song structures are pretty much straightforward all the time and their time signatures can hardly fool anyone. Then again, Helvetios is a pretty cool record and if you’re too pretentious too enjoy it because it’s not technical enough or whatever, then that’s your problem.

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Holy shite, this is a feisty and fiery one! One of the most successful “project” bands in recent memory, Goatwhore has come roaring back, filled with piss, bile and cayenne peppers on album five, Blood for the Master. This is nasty, blackened death/thrash from the most stagnant bayou of the Big Easy and it’s the musical equivalent of a gator attack. Featuring former members of Crowbar, Acid Bath and Nachtmystium, Goatwhore is professional, single-minded and out to punish mankind. Although they started as an American take on Norwegian black metal like Darkthrone, they’ve since settled into life as a drooling, chomping, black/death/thrash beast. While their past few albums have been a bit samey at times, they were always fun in a berserk, foaming at the mouth kinda way. Blood for the Master continues in the same direction as 2009′s Carving Out the Eyes of God but feels a bit more intense and well thought out. It hits like a nuclear howitzer from Hades with thirty-eight minutes of face melting ugliness and malevolent swagger. There are lots of  nods to the classic Bay Area thrash sound, some black n’ roll, classic death riffing and ice-cold, hyper-kinetic trem-abuse. What makes this so entertaining is the odd biker rock vibe Goatwhore manages to impart to the mach-speed chaos. Its hard to explain, but this sounds like black/death as done by a southern rock lovin, greasy biker gang and it works. While this ends up more of a thrash album than a black or death metal opus, it retains enough of an icy black heart to keep most frowners frowning happily (is that possible?). While it doesn’t differ much from what Skeletonwitch has done on the past few albums, its harder, meaner and way more convincing.

Of the ten tracks, nine blaze away with manic fury and seething hostility. “Collapse of Eternal Worth” gets the spiked ball rolling with an almost punk rock take on black metal that reminds me of the first Corrosion of Conformity album but with way more hate. The riffs are urgent and some are quite powerful. The vocals lurch from guttural death croaks to blackened rasps. “When Steel Meets Bone” is really a Bay Area thrash number with hints of vintage Exciter in the riffing and tempo. “An End to Nothing” borrows extensively from the Great Book of Slayer, including the frenzied,  whammy-intensive solos.

The most “black” of the tracks is the epic and evil “Judgment of the Bleeding Crown,” which sounds like top-notch Belphegor. The riffing locks in perfectly with the rolling drums and it sounds like an unstoppable juggernaut of doom. Likewise, “Beyond the Spell of Discontent” trots out some nicely frigid trem leads before settling into a straight thrash style. Only “In Deathless Tradition” stumbles and feels underwhelming with a more mid-pace grinding attack (it has a nifty solo).

Blood for the Master lives or dies by the strength of the axe mastery of Sammy Duet and fortunately, he’s up to the challenge. There are a lot of crisp, quality riffs here, of the black, death and thrash variety. His solos are also impressive and span several styles and approaches (my favorite coming at 2:15 during “Parasitic Scriptures of the Sacred Word”). Ben Falgoust’s vocals are diverse and mostly well done. Though he uses less of his pure black rasp this time, his death croaks are good and his screams sound genuinely painful (though he sounded better on earlier albums). I was very impressed with the drumming of Zack Simmons. The man can bash and crash and he really adds a lot of the fun to the mix.

Speaking of mix, the production by Erik Rutan (Hate Eternal) is a big factor in the success of Blood for the Master. The drum sound is huge and organic and the guitars sound pulverizing and unstoppable. This isn’t a trembly, tinny low-fi product by any means. Its got a huge low-end rumble and will shake you out of your socks with a wall of nasty sound.

Goatwhore isn’t re-writing any books on metal or doing anything unique, but their frantic, blitzkrieg approach to black/death is a winning recipe with loads of cajun awesome sauce. This is an blast of pure metal insanity and manages to be both extreme and memorable. Like having a rabid pitbull in your pants; its gonna get you moving and shaking. Get on the goat and ride…to glory!!

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Psycroptic may be one of the best known technical death metal bands out there today. Their high profile is largely the result of the fact that they make a type of technical death metal that moves about a mile a second, but while managing to not be too abstract. The band has historically had catchy hooks and great melodic parts, while never backing down on the guitar gymnastics and with vocals that have been just as diverse and unique as the music behind it. Psycroptic is the real deal, so there was never any hesitation on my part when I got a hold of the Tazmanian band’s 5th full-length The Inherited Repression.

Oh, and I knew what I was going to get out the gate. Even with the logo gone, The Inherited Repression screams “something grim comes this way,” and when the characteristic Psycroptic legato technical riff burst out the gate at about 57 seconds into “Carriers of the Plague” I was pretty much in. The whole album is a tour de force of Psycroptic‘s unique sound. There’s the groove parts (like the opening riff of the album, the amazing stuff in the middle of “From Scribe to Ashes”), the slower “breakdowny” and acoustic parts (but, this isn’t core and they’re few and far between) and the hyper fast and techy style riffs that have been with us since the beginning (some of my favorite riffs show up in final track “The Sleeper Has Awoken” but the whole album is littered with amazing riff after amazing riff). This is the stuff that keeps me excited for every time these guys put out a record.

Another major thing about this record that blows the previous albums out of the water is the production. While 2008′s (Ob)Servant was released on Nuclear Blast, the production on it wasn’t the best. Specifically the drums were heinously replaced and the sound was immensely annoying. The Inherited Repression inherited none of these production problems and it is easily the band’s most balanced album to date. The vocals are pretty far back in the mix and it helps to focus on the whirling guitars, bass and drums which are properly mixed this time around.

But I have a big complaint and, frankly, I’m a little confused as to what’s up. Jason Peppiat replaced Chalky three records ago, and since then the vocals, while not having been as extreme, were actually a little reminiscent of Trevor Strnad’s tendency to switch it up and be really dynamic. One of the things that made Psycroptic interesting to me was the way that the vocals really matched each riff and just as dynamic as the music. Unfortunately on The Inherited Repression vocalist Peppiat has pretty much stopped doing anything that isn’t in the mid-ranged scream area. While he does have two or three different tones that he uses, the death metal growl is completely gone, as well as the more At The Gates scream that he used to do—and that I really, really liked. This shouldn’t be that big a deal, right? It’s just death metal vocals. But unless the music has also lost a step (which, given that the songs are on average about 1:30 shorter than on their last record, is possible), I think that the vocals being so monotonous really has a detrimental effect on the music. While the riffs are solid, I have found that this record sags a bit in the middle, which none of the band’s previous material ever has. The only thing I can come up with is that the vocals were a lot more important than we ever gave them credit for.

I don’t want that to take away from the fact that Psycroptic is a great band and that the music on this record is pretty fucking solid. But I do feel like The Inherited Repression is a bit of a step backwards for a band that is as talented and dynamic as they come. Fans of the band will obviously still enjoy this record, but I’m not sure that it’s going to be met with as unanimous cheers and glee that the band’s previous work has.

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Sweden this, U.S.A. that. Its always the same countries churning out the metal that lands on the cluttered desk of Steel Druhm. Sure, every now and then a Middle Eastern or Asian act tosses a spiked glove in the ring, but it’s predomiantly Europe and the Americas tasked with carrying the metal standard these days. That’s why its such a treat when we get a promo from someplace new and exotic. Nothnegal clearly qualifies, since they hail from the tiny Maldive Islands, way out in the Indian Ocean (their location is actually listed as an atoll, which counts as mega-exotic). Decadence is their first full length and its all about modern melodic death with loads of keys, bells and whistles. They take the basic melo-death concept and mix in semi-industrial Fear Factory-like riffing, loads of electronic effects, keys and even synthesized guitars. The big mystery is how this remote isle act wrangled drum services from Kevin Talley (Six Feet Under, ex-Hate Eternal, ex-The Black Dahlia Murder) and keys by Marco Sneck (Poisonblack, ex-Kalmah, ex-Charon). Sounds interesting so far, right? Well, it may be interesting, but sadly, it ain’t too good. Despite the endless array of interesting keyboard noodling and effects, things never really work out and Decadence quickly sinks below the waves of mediocrity. This is a real shame, since there are some interesting ideas on hand and some talented folks involved. But, as the saying goes, no band is an island (sorry, island jokes are rough going).

As soon as things kick off, two big problems become all too clear. The first being an overproduced, glossy, nu-metal guitar tone which sounds awful generally, but especially when put through an endless series of Fear Factory-style staccato, machine gun riffs. They started annoying me before I could spell “nu” (and I’m a fast speller). Right alongside the bad guitars are the equally bad vocals of Avo. Mr. Avo goes for a hybrid of a “screamy” style and a more “true” death grunt. It doesn’t work for me at all and drags the whole enterprise down to Atlantis. Tracks like “Salvation” and “Claymore” have legitimately cool musical ideas and at times, sound like left-overs from Omnium Gatherum‘s epic New World Shadows, but the vocals and the metalcore chug-a-lugging come chug-a-lugging along to kill everything. Songs like “Janus” and the title track never seem to go anywhere and just drag along with sub-par, screamy vox and mindlessly mechanical chugging.

They shake things up a bit with some Exodus-like thrash on “Armageddon” and then  throw a big curveball with the last two songs, which adopt clean singing and totally different styles. “Sins of Our Creations” isn’t much different from what Redemption is doing these days, while “Singularity” is spacey, semi-proggy, light metal. While they get points for diversity (and retiring the  death vox), it seems a strange way to end the album and it leaves things feeling a bit disjointed.

As mentioned above, the quasi-death vocals are terrible and trigger a reaction in my medulla oblongata not unlike road rage. The guitar work from Hilarl and Fufu (ha ha ha, Fufu) is painfully metalcore-ish, samey and boring for most of Decadence. They do uncork some interesting leads and solos here and there (“Claymore,” “Armageddon”) but it isn’t frequent enough to overcome the weight of the extensive chuggery. The keyboards by Marco are quite solid and keep this from dropping into the total shite zone (though some of the effects sound like they belong on a Stabbing Westward album). Sadly, they also serve to highlight what might have been if the rest of Nothnegal elevated their game accordingly.

While not a winning debut, these islanders have the beginnings of a cool sound. If they can fix the vocals and ditch the brain-numbing riffing, they may be ready for primetime. Until then, they sound like a third-rate, core-ish version of Omnium Gatherum, best relegated to cast away status and forgotten. As harsh as this review may seem, I’m pulling for these Maldive metallers to  bounce back strong, like Wilson, the smiley soccer ball! We need more exotic metal these days.

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Immemorial is a fairly simple album in many respects. There are no gimmicks and few bells or whistles. It’s one crushing doom riff after another, joined with the low-register croaks of front man Samej. Mournful, forlorn leads are plentiful, as are minimalist but haunting solos. To break things up, they toss in the occasional acoustic break and sparingly used but highly effective keys. Some songs hover near the ten-minute mark and become quite epic in their droning but none bore me. Numbers like “Lost Path to Ma-Noa” and “Akakor” supply just enough melody via soft keys to offset the deathly gloom (very cool hammond-like keys in “Akakor”). Others like “Enter the Halls” bring a traditional doom/dirge with a fairly grandiose sensibility and some great guitar work. Everything works but standouts include the aforementioned “Enter the Halls,” “The Shrines of Ibez” (greatly haunting leads and cool Candlemass vibe), the mammoth doom riffing and beautiful leads throughout “Fallen Race” and the sad and somber title track.

This is the type album you put in, play through and get absorbed by. It has a feeling and emotion to it that almost prevents you from turning it off and it keeps growing on you like infectious mega-mold. It’s just so damn moody and glum, yet beautiful in a funeral parlor kinda way. The production is fairly solid for the style. The guitars from Shammash and Nechron (99?) are upfront (which is good, because their riffs and leads are the big stars of this show) but the tone could stand to sound a bit thicker and more raw. Samej’s death gurgles are excellent and also quite high in the mix, which helps to toughen things up. All in all, a professional product.

Much like good writers willing to work for free, well-performed doom/death is hard to find. With that in mind, fans of the style would be foolish to skip this one. Immemorial has a lot going for it and I’m spinning it regularly on these long winter nights. Disregard the pretentious name and sink your teeth into this dark, doomy thing of iron. Tastes like… gloaming.

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1. Things You Might Have Missed 2011: Graveworm – Fragments of Death
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3. Things You Might Have Missed 2011: Immolation – Providence

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Nader Sadek is the product of collaboration between an Egyptian artist of the same name (who has done some design work for the likes of Mayhem and Sunn 0)))) and Blasphemer (ex-Mayhem, Ava Inferi) on guitars, Flo Mounier (Cryptopsy) on drums, “Novy” Nowak (ex-Vader, ex-Behemoth) on bass and Steve Tucker (ex-Morbid Angel) giving of his mighty growls. And really on that last note, this record reminds me a hell of a lot of Morbid Angel. Specifically, it reminds me of Formulas Fatal to the Flesh, but with more modern production and a grindier, more modern sound to its arguably short playtime of 29 minutes and 48 seconds long. Apparently this record was functionally “directed” by Sadek and was also produced by him, and it’s a credit to his artistic vision.

And what should I say? Aside from a throw away introduction track, this record is 30 minutes of neck breaking death metal the likes of which we didn’t get in 2011. It has all the blast beats and twisted riffing you can eat, with a nice big helpings of groove and grind on the side. The guitar work from Blasphemer, who in my opinion is a ridiculously underrated guitarist, is fun to listen to and unashamedly riffy and inventive. The production is well-balanced, with the drums and the bass holding down the low end and.. oh right, kicking your ass. And of course, Steve Tucker is Steve Tucker. I’m a fan and always have been, so for me it’s music to my ears to hear him in action again.

There isn’t even a “standout” track on this album ’cause every one is so good that they could all be stand outs. So, you know, heads up. This record is fucking awesome and had I gotten to it earlier it probably would have been on my end of year list at least as an honorable mention. While this album is not going to change the way death metal is done, it is supremely well executed, well written and well constructed. Sorry I missed this one. Mea culpa and all that. now go out and by In the Flesh. Get a shirt while you’re at it.

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Immolation

Now, with 2012 right around the corner, we find ourselves at the behest of another punishment from these New York Death Metal old timers. This EP comes under the title Providence [is available for free here - AMG] and it contains five tracks that hardly add up to 19 minutes. The sheer intensity of Immolation’s death metal will hit you as soon as opening track “What They Bring” fires off. Of course the typical elements of their sound are still there and the stand out moments are, as usual, few. But that’s the beauty of Immolation because their albums have always had a feeling of coherence, despite what chaos or monotony a casual listener might imagine. Ending track “Swallow the Fear” is definitely my favorite track on Providence because of its very catchy riffing and because of Steve Shalaty’s unconventional drumming that we’ve come to anticipate ever since he claimed drumming duties in 2002.

Short, sharp and blistering guitar solos are also available on this blistering EP; check out those on the title track and the aforementioned “Swallow the Fear”. Front-man Ross Dolan delivers yet again some commanding vocals while his long time accomplice Robert Vigna shreds our faces to bits on his guitar; this is brutality at its finest. We’ve seen a confirmation of the collapse of Morbid Angel this year but Vader restored our hopes in the old guard and now Immolation comes out with this respect-demanding beast. Their 2007 effort Shadows In the Light may have divided fans a bit but they’ve completely rectified that with last year’s very well received Majesty and Decay and now they’ve put all doubt six feet below the ground with Providence.

Don’t leave 2011 without giving this badass record a few listens. After all, this is a year with revolutions in the middle-east, a tsunami in Japan, floods in Thailand, economic collapse in Europe and a volcano in Chilé which makes brutal death metal a most fitting addition.

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Dim Mak arose from cult heroes Ripping Corpse in 1996 (after Erik Rutan ran off to join Morbid Angel) and they decided to do something entirely different. And yes, I believe that Dim Mak definitely qualifies as that. A thrashy, techy death metal band with martial arts themes almost exclusively (yes, their first record was called Enter the Fist), The Emergence of Reptilian Altars is the band’s fourth full length and first since 2006. Five years (well, six if you’re looking at the Euro release date) is a long time to wait between albums, so you’d like to think that they were preparing something super special (like the Touch of Death!) for their return. But during that five years down, original vocalist (and Ripping Corpse member) Scott Ruth left the band and was replaced by newcomer Joe Capizzi, whose style is markedly different than his predecessor.

And The Emergence of Reptilian Altars is a record arguably quite different than its forerunners. While the band operates breakneck speed for a good portion of the time, pumping out amelodic riffs galore and pummeling the listener’s brain with ridiculous, tight and fascinating drumming from Origin and Gorguts drummer John Longstreth, there is not the same blitzkrieg kind of blasthappy speed approach. This makes for some pretty awesome material at times. “The Secret Tides of Blood” lilts back and forth between blasty chorus parts and groove laden, almost jazzy, interludes and verse parts that can switch up almost unpredictably. On top of this kind of material, vocalist Joe Capizzi apparently approaches tracks in a much different way than most vocalists. Where others seem to harbor a desire make their vocals work rhythmically, he seems more accustom to spitting his vocals out in bunches, in places that seem vaguely inappropriate and unsettling at times like some sort of crazed, death metal beat poet! This can be really distracting and actually discourages getting into the groove of tracks.

So I was admittedly really pretty cool on this album until the introduction of the track “Between Immensity and Eternity” kicked in and that’s when The Emergence of Reptilian Altars really turned around for me. That track, while still containing riffs that might as well be finger exercises, also contains some outstandingly groovy and crushing riffs that kept me coming back again and again. And this was not just a fluke, the follow up, the vocalless “Through the Rivers of Pestilence,” also contains some riffs worthy of Death or Covenant-era Morbid Angel. In fact, I’d say the entire final two thirds of the disc should probably just have been an EP, because those 6 tracks really fucking rip. And with lyrics like these form the track “Fully Disassembled” it’s not too difficult to feel pretty stoked about this album: “‎In this landscape forged from dismemberment! I administer the sacrement of pain!” Yes sir, you most certainly do.

So while I’m not totally sold on the first three tracks, because there are basically no riffs or moments that bring me back around, The Emergence of Reptilian Altars wins pretty hard on the back end. The musicianship is awesome (though the bass is *way* too low in the mix), with the riffing actually wandering into the nearly unmatched and highly addictive area of Anata at times, and the drums alone are worth listening to. Still, while this record does salvage itself on the back end (and “Between Immensity and Eternity” is definitely one of the best songs I’ve heard in this young 2012), enter at your own risk. Dim Mak is not for everyone.

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How far from reality would it be to argue that death metal has become a saturated genre with no room for improvement? I suddenly imagine a short chubby skinhead with a 50 cm long goatee screaming at my invalid premise which makes my argument seem quite farfetched. So we have now at our hands Metamorphosis which is the fourth full-length album by California’s Vile and it comes six years after 2005’s well received The New Age of Chaos, and that my fellow metal heads is a long time to put out a death metal album. Makes you wonder how the new one sounds like, doesn’t it? Well if you are familiar with their older works and the current worldwide vitals of death metal, you wouldn’t be really surprised by this record. This is an album that sounds quite contemporary as far as death metal goes and carries some obvious influences than can be traced to Deicide, Suffocation and 20^th century Morbid Angel. Another thing I realized as soon as I saw the artwork is how much it reminded me of Atheist’s Jupiter, but I guess it would be impossible to scan the entire metal spectrum for cover art just to make sure what the artist you’re paying may or may not have copied.

As soon as you hit that play button, “March Towards the Dawn” will explode right off the bat with senseless blasting and trebly, crackling bass which gives a clear statement of musical intent if there ever were any. Sophomore track “The Revealing” has rather unexpected, and quite pleasing I might add, arrangement of clean chords supporting a melodic solo which then gives way to more violence. The intensity of the riffing almost never steers considerably far from its core throughout the thirty-eight minute span of Metamorphosis, except for the riff-less interlude “I Am Become Death” which features the all too famous spoken word segment by Robert Oppenheimer where he quotes the Bhagavad Gita while reflecting on the atomic bomb trials conducted in 1945.

Brief stints of melodic brilliance are able to peek through the dense smoke of guttural vocals, plodding bass and razor-sharp riffing. Examples for which are the transitional lead line in “What Lies Beyond”, the last few seconds of melodic riffing and blasting on “Wolf At Your Door”, the top-notch riffing on “Shadow Work” and the tremolo riffing on “Redemption” that spans the entire neck and then gives way to a solo that soars to the sky; making it a most adequate ending for the album.

Having pointed out these sporadic points that lift the album above the average line, I feel compelled to point out those that do the opposite. Vile unfortunately suffer from short-track-length syndrome, which makes the listening experience quite concise without a lasting effect of amazement. Another issue I’ve found incredibly distracting is how inorganic the drums sound. This is, of course, a production issue that doesn’t really make any drummer better or worse. It’s just that there are so many bands doing this with their drum sound, it would be refreshing to come across an album with the drums sounding more natural than this. Guitar tones, in terms of originality of sound, didn’t achieve much in setting these guys apart from any other guitar player. It’s actually quite representative of the entire album really. Go for it if you’re an obsessive death metal collector but for the casual passer-by, you’re not missing much.

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