Unleashed // As Yggdrasil Trembles Rating: 3.0/5.0 — The Manowar of Death Metal strikes again! Label: Nuclear Blast (EU | US) Websites: unleashed.se | myspace.com/unleashed Release Dates: EU: 19.03.2010 | 03.19.2010
Unleashed is not without their appeal. They’ve been around for a couple decades now, putting out their first record Where No Life Dwells in 1991, and they’ve been pretty consistently well-respected in the scene for being among the first to do the whole Viking Metal thing. But they’re a band that this Angry Metal Guy has never been able to get into on the basis of one thing: Unleashed is the Manowar of death metal. Now, some people are going to say “But Manowar are the Kings of Metal! Should we not be praising Unleashed for translating such kinglyness into the Death Metal genre?” To which there can only be one response: “Absofuckinglutely not.”
Like Manowar, Unleashed writes some pretty great metal. Musically, the band produces a melodic form of tear-your-head-off death metal that has been associated with Sweden since the early 1990s. The music is powerful, pummeling and thrashy it makes the listener want to headbang! Like their Swedish brethren Amon Amarth, Unleashed likes trem-picked melodic passages that are littered with good groove and plenty of chances to headbang manically. The guitar solos are wickedly thrashy and, surprisingly enough, the bass is even audible! Musically, there isn’t a song on here that I don’t like! And the record pounds out of the gate with amazing tracks, “Courage Today, Victory Tomorrow”, “So it Begins” and “As Yggdrasil Trembles”.
However, like Manowar, Unleashed has a lyrics problem. This chink in the armor becomes the most obvious when one hits the 4th track on the album “Wir Kapitulieren Niemals”, and Johnny starts screaming “Viking Death Metal!” This is not the first time, or the last time, on this record that there are lyrical issues that stand out and make the listener a little bit embarrassing. This sort of idea that one can write about the meta-aspect of heavy metal is one of the reasons that power metal is considered to be so ridiculously cheesy. How does one take seriously a band that sings about themselves being awesomely metal? And in some ways, its even easier with a band like Lost Horizon or Manowar because they’re wearing loincloths anyway. Unleashed are just a Swedish death metal band cursed with terrible lyrics.
We’ll stop there with our little Manowar comparison, because frankly Unleashed produces way more consistent and interesting music than Manowar ever has. While the latter has a few good songs on every record and then a bunch of shit that litters the side about how metal they are and about how big their “swords” are, the former writes consistent, enjoyable death metal. As Yggdrasil Trembles is par for the Unleashed course, littered with great songs and solid riffs. If you can bring yourself past the silly lyrics, which is often times pretty easy with death metal bands, and you’re a fan of death metal and viking metal, you’ll probably really enjoy this record. Don’t expect to be wowed by their deep interpretations of the Norse myths in reference to our every day, modern life. But then again, when was the last time any metal lyricist wowed you?
Wulfgar // Midgardian Metal Rating: 3.0/5.0 — Entirely enjoyable, but sort of lacking something… Oh, right, originality Label: Trollzorn / SMP Records Websites: wulfgar.se | myspace.com/wulfgarse Release Dates: EU: 19.03.2010 | US: No date found
The guys from Wulfgar and I have something in common: we both really love Amon Amarth. I mean, I’ve been an Amon Amarth fan since I first heard “Victorious March” all those years ago and I’ve just never looked back. I’ve purchased every one of their records since I started listening to melodic death metal and, let’s face it, I’ll probably keep listening to them for years to come until I’m old, bitter and bored with everything that I used to like (it’ll happen: then I’ll become Angry 12 Tone Jazz Guy). The difference between my love of Amon Amarth and that of the guys from this Swedish quintet is that I didn’t start a band…
OK, now that I’ve gotten the shit talking out of the way, let me say something: these guys are actually really, really good at what they do. They pump out excellent, mid-paced melodic death metal with the vocal styling of an epically bearded Swede named Emil (who incidentally does actually sound like Johann Hegg from Amon Amarth). The tracks are heavy, with great chuggy riffs and totally solid melodies which hook you in right away. You spend the majority of your time nodding your head, and I’m sure this stuff is totally awesome live. I mean, Midgardian Metal has it all: addictive melodies, fun riffs and a style that I just love to listen to.
The band has a bit of variation, as well—the track “Norsemen of Steel” sees the band wander into power metal territory on the chorus, and there are even some pretty folk metal parts on here as well. In my opinion, the band would do well to think about expanding these parts of their music. Because while I think that they’re a good band, there is definitely a part of me thatwants a little bit more than an excellent audiocopy of an already loved and famous band. These guys obviously have the talent to write solid metal—so they should use that talent to expand their sound a little bit beyond the boundaries of their current sound.
To fans of the style, this record will be thoroughly enjoyable. If you can’t get enough new music that sounds like Versus the World and Fate of Norns, then you’ll be a nice shade of satisfied after listening to Midgardian Metal a few times. The comfortableness of this style isn’t lost on me. Songs like “Circle of Runes” and “The Death of Yggdrasil” definitely pound through the speakers and pummel you with a viking-like ferocity. The production is thick and meaty, and the performances are convincing. Over time you will probably forget that you’re not listening to Amon Amarth and just start to enjoy this record for what it is—solid, groove based melodic death metal about vikings and the mythology of medieval Scandinavia.
OK. So, my friend just updated his status on Facebook saying that, indeed, Pain of Salvation is going to be participating in Melodifestivalen, which Daniel Gildenlöw describes in detail in his blog post from the band’s website:
After the flights back to Sweden we had less than 24 hours at home before taking off for Australia. During those few hours I had to pack, take a bath and prepare the audio CDs and mixes for Melodifestivalen. For those who don’t know what Melodifestivalen is, it is the biggest thing in the Swedish music industry. A huge machinery built to single out the Swedish contender for the Eurovision Song Contest. Out of thousands and thousands of sent in songs, 30 are selected by a jury to participate in this national contest, viewed by half the population when it’s on TV. It’s a big thing, to say the least! Do you recall a week with two Thursdays, some two months back? It was that day when hell froze over, remember? That was the day they told us Pain of Salvation would be participating in Melodifestivalen. It just doesn’t happen.
For those of you who are not familiar with Eurovision or, the preliminaries that are Melodifestivalen, these things are about as metal as, say.. American Idol. That is to say, they are not fucking metal at all. They’re not metal even a little bit. There is not a shred of metal in this stuff. “Sure,” you say, “but Lordi got famous because of Eurovision!” To which I respond “Exactly!” Lordi, while funny, is certainly not a band that anyone over the age of 8 takes seriously at all. And that should give you the idea of what it means that Pain of Salvation, the progressive rock idols that are incredibly well loved in the prog scene (the word “overrated” almost comes to mind, though they are exceptionally talented), are going to be in Melodifestivalen.
The best part about this whole thing is the interview on the SVT site.
Even if you can’t understand Swedish you should check out the end where they slaughter this song (which I was informed of by Angry Metal Girlfriend, who totally knows this stuff.. haha)
Though, he points out thoughtfully that Lena Philipsson should have won with that song, and after listening to it I think he’s absolutely right. One wonders if Daniel Gildenlöw can dance like she can… If so, maybe they can pull off the big upset.
Dream Evil // In the Night Rating: 4.0/5.0 — Absolutely great (for what it is) – All Hail the new Kings of Metal! Label: Century Media Websites: dreamevil.se | myspace.com/dreamevil Release Dates: EU: 25.01.2010 | US: 01.26.2010
Step over, Manowar, the new Kings of Metal are in town. Sure, they’ve been around for a while, and they’re a little more tongue in cheek than Manowar is, but Dream Evil, with the release of their new record In the Night, have risen from the ashes (of a DVD release?) to take the crown for themselves in their mighty, viking fists! These Swedes have put forth a strong offering filled with skull-crushing riffs, ball-grabbing vocals and unabashedly cheesy-as-hell lyrics—that would make Snowy Shaw blush—in order to try to re-gain the glory of their mighty album The Book of Heavy Metal.
It is certainly true that the departure of Snowy and Gus G. made a lot of people nervous about Dream Evil’s demise, but they have come back with their second full-length release since then and don’t appear to be going anywhere. And, as vocalist Nick Night points out in wailing ridiculousness, Dream Evil is “immortal, [they] cannot die, you better run and hide.” And In the Night is everything that you would expect from this Swedish unit: catchy power metal with fantastic hooks, cheesy lyrics and a self-critical eye cast back at the 1980s—when men were men and tights were … totally tough. Every track on this record is fantastic, but, of course, I have my favorites. My personal favorite is probably “The Ballad,” which takes every single cliché and turns them into a moving song about crying children and swine. Other tracks that stand out are the mighty “Bang Your Head,” “Immortal,” and the delightful “Kill, Burn, Be Evil”—advice we can all really take to heart in order to improve our metal cred.
What I think is fascinating is that there are always bands that are trying to do this kind of stuff all the time and do it to varying degrees of success. Retro 80s metal is definitely building and getting stronger throughout the world and certain labels even still seriously sign bands that want to sound like 80s thrash or stadium rock—and yet here we have the most talented group of these guys and basically the whole thing is tongue-in-cheek. Dream Evil is convincing as hell, but you can tell that they’re definitely having a drunken laugh at the same time as they’re producing balls-to-the-wall metal that makes you want to break out your leopard tights. The band is really tight, the production is super and these boys can write good, pop smart heavy metal.
If you’re a fan of the genre and looking for something to get drunk to with your friends and scream at the top of your lungs: look no further than In the Night. And all hail the new Kings of Metal!
Valkyrja // Contamination Rating: 2.5/5.0 — Alright, some improvement, but still not understanding the infatuation Label: Metal Blade (EU | US) Website: myspace.com/valkyrjaswe Release Dates: EU: 15/18.01.2010 | US: 01.19.2010
Early in my tenure in 2009 I received a record that was being re-released by Metal Blade: Valkyrja’s Invocation of Demise, which was a release of an earlier record that was initially released in 2007 on Northern Silence Productions. There were several substantive complaints that I had about the record, which can be summed up as follows: there is nothing new and/or interesting here; it is repetitive and boring; the songs are hyper simplistic and despite being fast, don’t feel terribly heavy. The challenge, then, for Valkyrja to produce a record that I review better is to improve on these things (and since Valkyrja is out to prove themselves to me and me alone, they certainly will try… *cough*) with their new release Contamination.
Recorded in the suburbs of Stockholm Contamination is the culmination of a three years and a new record deal from Metal Blade. While it came out pretty fast, the record doesn’t really sound that rushed. However, it still sounds pretty much like Valkyrja sounded on Invocation of Demise. The style of black metal is still pretty much blast-heavy, trem-picky and slightly melodic, without ever wandering into the territory of Taake-type melody. Instead, Valkyrja can probably be more likely compared with Watain without their extremity or originality.
However, Contamination is a definite improvement on the previous album. The riffing on this record is far more interesting and the song writing is definitely more compelling. There are some good riffs littered throughout and there’s even a song or two on here that I really like (“Catharsis (Contaminate the Earth)” being probably the best song on the record and the track “Ambiance of the Dead” being pretty compelling as well). Three years, and a lot of time to improve their writing and tightness as a band probably definitely helped pushed these guys towards a better record.
That said, the improvement is minimal and the result is an alright record but I still don’t understand the infatuation with the band that seems to be showing up in some black metal circles. They’re talented at what they do, but it seems that black metal as a genre is very much mired in the “we like what we’ve always liked” thing—or they’re producing totally pretentious shit and calling it gold until more than 15 guys have heard of it. This record is basically 58 minutes of the same thing and, frankly, it just gets boring. I make a point of sitting down and listening to all of the records that I get all the way through, despite whether I want to or not, THREE times. I have now done that, but it took me several weeks to even get through it once. I would start the album, get about half-way through and finally break down and change it. It’s not like I don’t like the tracks when I hear them, it’s just that they get repetitive and they’re not compelling enough to keep me engaged for a longer period—and an hour of it is just too much.
If you’re a fan of black metal you’ll probably just think I’m not a fan of the genre and write me off—but I once again will defend myself by saying that I like black metal that is well done, innovative and interesting, just like with any genre of metal. If a band is producing something elite, then it should be obvious: and Valkyrja is pretty good, but definitely not elite.
Honestly, I don’t know how I missed this, but apparently In Mourning is streaming their new album online at this location. I encourage everyone to go and listen to it because it’s fucking awesome. Then go and buy it.
In Mourning // Monolith Rating: 5.0/5.0 — Easily one of the best up-and-coming bands in the world Label: Pulverised Records Website(s): inmourning.net | myspace.com/in_mourning Release Date(s): EU: 25.01.2010 | US: Unknown (Possibly early February via Megaforce / Sony)
In 2008 the underground was taken by storm by a little-known Swedish progressive death metal band called In Mourning that released a tour de force entitled Shrouded Divine. A powerful combination of melodic death metal, Opeth-y style progressive bits and death metal with just a touch of core (trust me, just a touch), they were ranked highly on many year end lists and, frankly, left a bit of an impression on this Angry Metal Guy. See, there is life past Opeth in Swedish progressive metal—something that I had been coming to doubt. In Mourning managed to put out a record that had all of the great heaviness and thickness that one wants in a death metal record, while still managing to keep the haunting progressive parts fresh and interesting. The question is can they keep it up? Is it possible that they’re able to follow up such a lauded record with something even better?
The answer to the previous question is an unequivocal YES! In Mourning has come back for their sophomore release sounding hungrier than ever. With improved production qualities and a new label (that has an eye for talent, obviously, and provided the band with great artwork by the same guy who has done the Katatonia, Opeth, Devin Townsend, and Bloodbath covers—Travis Smith) In Mourning has been able to shape their sound into something even more powerful and cohesive than what was established and distinguished on Shrouded Divine. That is to say: Monolith overshadows the earlier work from this band with its power and writing.
The basics are the same, of course. A blend of Swedish death metal (à la Dark Tranquillity, At The Gates) vocals, some hardcore vocals and some great brutal death metal vocals that round out the sound. There is a lot of downtuned chunk on this album, backed up by an excellent and tight rhythm section that makes the tight, technical bits sound crushingly powerful. At the same time the band is able to slow it down a bit and they use guitar melody and, sometimes, vocal melody to even out the landscapes of this record.
One of the most vastly improved aspects of this record, in my opinion, is the flow that they’re able to get. While Shrouded Divine was good, it sometimes felt like the band was too quick to write choppy pieces that felt unnatural moving into each other. Due to the improved production, and I think just a straight up tighter band, Monolith has hardly any moments that don’t feel natural and flowing. Instead, the songs are often deceptively long despite the fact that they don’t feel that way at all—clocking in at six or seven minutes when you think it’s only been 3 or 4—and the transitions are vastly improved. Tracks like “The Poet and the Painter of Souls” exhibit the smart composition that the band now exhibits, moving seamlessly between parts and never really following into bad patterns. The same is also very much true of “With You Came Silence.”
It’s hard for me to say this, as it’s the first record I’ve reviewed for 2010, but this album has the makings of a record of the year. It has everything that fans of doom, melodic death metal, metalcore and well, frankly, good heavy metal in general should look for in bands: technical proficiency, excellent writing, balanced production and cohesiveness. Monolith may well tower over 2010 as one of the best… Not to mention that In Mourning is definitely working its way into the echelons of amazing Swedish metal bands in my opinion. It has been a while since a new band from Sweden really blew me away, but In Mourning has all the makings of one of the greats.
Impious is one of many elite death/thrash bands to come out of Sweden during the mid-late 90s and they are still ripping it up in full force in 2009. As pretty much one of the last records of the year, this is probably going to be overlooked on the grand scheme of thing, but I think this album deserves a serious examination.
Death Domination, as I have said of many records before, is nothing you haven’t heard before. Swedish-style death metal, fast and pretty melodic, but brutal enough that it puts a lot of the Gothenburg bands to shame. This isn’t Swedish death metal like In Flames, but instead like Demiurg or Hypocrisy. And the record is a blinder. Clocking in at about 36 minutes long, it’s also reminiscent of the new Vader record, which was also a highlight this year.
And really, there are some stand-out tracks on here. “And the Empire Shall Fall” exhibits a band that is keenly aware of composition and building, as well as heavy riffing, while “Legions” rocks out Nile at its own game with a killer primary theme that sounds pretty Egyptian. Actually, “Legions” is probably my favorite track on the album and definitely shows smart, old school composition style with a strong theme and a catchy chorus (something that few death metal bands ever do with any skill). “Legions” is followed by another outstanding track (“As Death Lives in Me”) and finally, when the album reaches its final track (“Irreligious State of War”), you’re not ready for this album to end.
Death Domination has a lot of strengths. The riffing is tight and brutal, the drums sound real and are well-produced with a good bassy sound (no obvious triggers). The record is littered with awesome groove and a great vocal performance. And actually, the opposite of the new Vader, I was actually really pleased with the guitar soloing on here. What there was for guitar soloing was solid, melodic and well-composed. This is a band that despite its long tenure isn’t losing much pace.
Another fine addition to the legacy of Swedish death, Death Domination is worth your time and money.
Månegarm // Nattväsen Rating: 4.5/5.0 – Excellent! Sounds a lot like Vargstenen, but who thinks that’s bad? Label: Regain Records Website:myspace.com/manegarm | manegarm.com Release Dates: EU:19.11.2009 | US: 11.22.2009
Nattväsen (Night Creatures) is the name of the new Månegarm record, and one that works well with the feel of the entire album. Clocking in at a good LP length of 45 minutes, this record explores musically and lyrically the fears which we as humans have had as long as there has been night. Those fears of the things that creep out of sight, be it the ghost of a mountain (“Bergagasten”), the creatures in our dreams (“Nattsjäl-Drömsjäl”) or a mythical creature (“Draugen”). This concept seals together a record of some of the best folk/viking metal that is currently available by any band.
Honestly, I’m a sucker for Månegarm’s style. It’s like a great big blend of Otyg and Amon Amarth. Fusing the melodic death metal with more clean vocals, folky riffs and melodies and violins leads to some of the best riffing and memorable tracks I’ve heard on any record this year. It’s the kind of stuff that makes you rock out at the time and then, later, when you’re doing whatever you’re doing (in my case it was doing dishes—you know, angrily.. ’cause that’s what Angry Metal Guys do..) you start whistling melodies.
Really, the songwriting is great. While the structures are often pretty traditional, they keep it fresh enough with a good mix of thrashy clean vocals, good vocal harmonies and death metal vocals that you never feel like they’re falling into too much repetition. The musicianship isn’t over-the-top progressive, but there are some pretty bad-ass electric violin solos from the poofy-haired member of the band (Jan Liljekvist) and the band is equally comfortable writing good clean parts, and even a full acoustic track (“Delling”) which signals the dawn of a new day.
It is this kind of musical and conceptual cohesion that makes Månegarm the cream of the crop in this genre right now. Their ability to consistently write intelligent, coherent records that smack of musical taste and maturity at the same time as writing addictive, sing-songy melodies (visor) is something that I think is phenomenal. There are not many bands that have the same musical breadth and depth as Månegarm does, while not making their music pretentious and out of reach. And while thisrecord is not a terrible departure from Vargstenen, why break down the formula that is obviously working for them? The only major format change is that it feels like the songs have more folk-breakdowns than on Vargstenen.
Simply put, there isn’t a bad track on this album. My favorite is “Nattsjäl-Drömsjäl,” but every song on here, including the acoustic one, stands up to the test. The band also does a good job of linking things and creating a feeling of creepiness and uneasiness at various points in the album, which definitely lends to the concept being such a phenomenal success (see: “Hraesvelg” and “Nattväsen” for examples of this).
All-in-all, this is a great record with all the working parts in order. I honestly hope this record thrusts the band more into the public with some better promotion and a good touring package or two (you hear that Heathenfest organizers? These guys are so much better than fucking Blackguard). Sure, all the lyrics are in Swedish, so it’s a little harder for an English language audience to really pick up on it, but Ensiferum and Korpiklaani really enjoy more success internationally—I’d like to see the same for these guys, because they deserve it.
Sonic Syndicate // Rebellion EP Rating: 1.0/5.0 – This is everything that is wrong with modern metal Label: Nuclear Blast (EU | US) Websites:sonicsyndicate.com | myspace.com/sonicsyndicate Release Date: Nov. 6th, 2009
Sonic Syndicate are a pop rock band that somehow got signed to Nuclear Blast. Apparently they’re from Sweden, but I wonder if other metal guys from this country would actually agree to that. I think many of them would say “Well, don’t they have an English singer?” Why yes, they do! He’s new, in fact!
The rundown is simple. Sonic Syndicate is poppy metalcore. Do not let their Wikipedia page fool you. Sonic Syndicate are not melodic death metal. There is nothing remotely death metal about this EP or this band. “Burn This City,” sounds like the theme song from a bad action flick, and the new vocalist sounds like the guy from Killswitch Engage. While “Rebellion in Nightmareland” is a little bit better than the title track, it too is far too formulaic to stand. Oh, he sounds like the dude from KSE on this track, too.
In fact, the only thing that I can say good about this band is that they’re all very pretty. So pretty, in fact, that one wonders when they found time to write this music between all the primping and preening they must do every day. When the fuck did becoming a metal dude mean becoming a goddamn hair model? Other than that, this is an example of everything that is wrong with modern metal. The production is so mechanical that it is totally soulless. The keyboards are high and unnecessary, the drums are fake and lifeless. Thevocals are standard metalcore vocals, some screaming lots of 2nd tenor whining about girls.
This whole EP clocks in at 11 minutes long. Oh, and let me tell you something. There’s a 1 second difference between the “Radio Cut” and the normal version of “Burn This City.” I’ve listened to this whole thing several times and I can’t tell the difference. So in reality, the new material on this EP clocks in at about 7 minutes. And that’s 7 minutes you’ll never get back.
Unleashed is not without their appeal. They’ve been around for a couple decades now, putting out their first record Where No Life Dwells in 1991, and they’ve been pretty consistently well-respected in the scene for being among the first to do the whole Viking Metal thing. But they’re a band that this Angry Metal Guy has never been able to get into on the basis of one thing: Unleashed is the Manowar of death metal. Now, some people are going to say “But Manowar are the Kings of Metal! Should we not be praising Unleashed for translating such kinglyness into the Death Metal genre?” To which there can only be one response: “Absofuckinglutely not.”
seriously a band that sings about themselves being awesomely metal? And in some ways, its even easier with a band like Lost Horizon or Manowar because they’re wearing loincloths anyway. Unleashed are just a Swedish death metal band cursed with terrible lyrics.
