“Wow, another accessible Incantation album. As you remove your jaw from your keyboard, let me make clear, the use of the word “accessible” in the same sentence as Incantation does not denote any sell out or radical style shift. Instead, these long running murk merchants continued what they started on 2012s Vanquish in Vengeance and eased back on the dismal sludge.” Folks, this is where the slime live.
“Two decades ago, a young troupe of bummed-out Finns churned out two primitive death/doom demo tapes, and promptly disappeared following the death of one of their guitar players. Rippikoulu’s latter release, 1993’s primitive doom/death gem Musta seremonia, followed suit with other short-lived doom/death groups from the early 90s by accruing a great deal of kvlt charm cultivated by many years dwelling in obscurity and anonymity.” Back from dead, we get some old timey doom/death right out of Finland.
“My favorite Greek giants of atmospheric, Rotting Christ flavored symphonic death metal are back, and right on schedule with the delivery of their latest force of nature. And to add to my fangirlism, the album’s fittingly titled after the most ancient of all the gods – yes you read right, TITAN! Does it get any bigger, heavier or more metal than that?” Was the kraken a titan? He was pretty freaking big.
“Trap Them has for years been in that beautiful sweet spot of great hardcore with a monstrous buzzsaw guitar sound. 2011’s Darker Handcraft pushed out excellent songs at high speed and sounded really good thanks to Kurt Ballou’s revered production chops, turning many a head and securing an already growing reputation for excellence. Three years later, Blissfucker readies for release, but with an entirely new rhythm section and a long silence from the band, what could have been cooking?” Let’s look in the pot, shall we?
“Arch Enemy keeps soldiering along, ever honing their super polished, shiny and pretty version of melodic death metal. This despite the departure of such key parts as guitarist Christopher Amott and vocalist Angela Gossow. Easy peasy, in comes Nick Cordle (Arsis) and Alissa White-Gluz (The Agonist) and we get another typical Arch Enemy platter, full of power metal ideas smashed into melo-death templates and layered with snazzy guitar-work from Michael Amott.” Ready for more Power-Death? Yes, it’s a thing!
“Vader has more albums than I have old socks. They’re an institution in Polish death metal and they pretty much put their homeland on the map of extreme metal (Behemoth helped a little too). Tibi Et Igni is their twelfth opus of raging death metal and much like 2011s Welcome to the Morbid Reich, it’s a fast, furious and largely unhinged affair written by old time death metal purists, for old time death metal purists while also mixing in copious thrash influences as well.” Were you worried if this would be good or not? I find your lack of faith disturbing.
“As impressive as sweep picking, blast beats and odd-time grooves are, there’s something to be said about death metal that doesn’t reach for the skies but digs in graves. There’s a certain charm to taking a genre and just executing it well rather than adding bells and whistles, and that’s exactly what Beyond the Veil of Flesh does.” Zombies, gore and flesh eating. It’s all here.
“Finnish folklore tells the tale of a small rabid cult in the 19th century, performing blasphemous actions on followers of old Finnish religions, including ritual sacrifice and burying innocent townsfolk alive. This small cult was discovered, and sentenced to die by fire on the altar in their own mansion, burned alive with most of their scriptures, save for one book which was left miraculously intact. Such is the story of Kadotetut, told by relative newcomers Vainaja. Svart Records labeled this as “one of the heaviest records ever made in the Finnish language,” and I’ll be hard pressed to disagree.” Really heavy shit about creepy Finnish murder cults. That my friends, is metal.
“Sure, we’ve all heard of beating a dead horse, but have you heard of D-beating a dead horse? Retro Swedish death is that rotting carcass and Bombs of Hades return once again to kick and stomp it with more Entombed and Dismember based bootery. Atomic Temples picks up right where 2012s The Serpent’s Redemption left off and delivers another overdose of unrefined Swedish death mixed with rudimentary crust punk and half baked Motörhead outtakes, and much like the last platter, it’s a fairly fun listen if you’re in the proper frame of mind.”
“It’s hard to know exactly what to say about a record when the band itself provides a more succinct – and honest – characterization of it in their own promo language than I ever could have: “The second Teitanblood album corrects the misconception about death metal being music. Mortui vivos docent.” Well, there you have it. Clearly, intellectualization is completely redundant when writing about a band like the Spanish death/black duo Teitanblood. You either get it, or you don’t.” There you have it indeed.
