The various listens I had over the previous week, first staying up-to-date on current releases before going through the ages to listen to an older release.
The second release from the one-man Polish Black Metallers. Dark, simplistic material with a straightforward approach that’s given quite a formulaic approach here with steady drum-work, atmospheric swirling patterns, and sweeping tremolo riffs to complete the picture. Marching along at solid mid-tempo grooves as the soaring tremolo riff-work act as melodic countermeasures before blasting away at frantic paces keeps this one interesting enough as it goes along. Laced with the old-school rhythms and a steady mixture of plodding tempos with chugging riffs and faster melodies alongside far more engaging and rattling riff-work, this comes off as quite enjoyable for the most part despite the simplistic formulas featured throughout here.
First up is the newer releases:
Apocryphal (It)-Tales of Galilea (79/100)
The second full-length from the Italian Black Metal outfit under this name. Simplistic, churning riffing as the main factor here alongside steady drumming and swirling melodic tremolo leads allows for a simplistic mid-tempo charge throughout. When the tremolo riffing drops out for more traditional riff-work and blasting drums the energy becomes quite more engaged with a more kinetic approach against the slower, more melodic arrangements. Used in spurts for either brief instrumental sections or for the instrumental interludes the more energetic elements stand out in comparison to the main melodic riffing and sprawling tempos which is enough variation to make for a generally engaging mix. The fact so much of this comes off as fine but is interrupted by the constant interludes that serve to break up the flow of the album being featured after every other song hurts this one somewhat but not that much.
Abintra-Pharaoh of the Land (75/100)
The third full-length release from the one-man Symphonic Black Metal outfit. Bombastic swathes of orchestral keyboards, blasting drumming, and a finely-tuned ornately classical approach to the compositions makes a finely lighter approach to the material. Rather than wallow in brimstone-laced tremolo riffing, the keyboards take centerstage with the majestic compositions against the furious drumming leaving quite a melodic undercurrent which becomes affixed with the tempo changes from frenzied blasting to melodic sweeping chugs. However, the lighter production suits the more melodic sections rather than the aggressive patterns which lack a decided punch and atmosphere throughout here as the mainly keyboard-driven aspects take hold with the power drained on the rest of the instruments as a result.
Vortech-The Shadow Presence (86/100)
The 8th release from Finnish Industrial-tinged Heavy/Thrash Metal fusionists. A swirling amalgam of digitized industrial samples, stock drumming, and sweeping tremolo-spiked riffing complete with blistering, frenzied tempo and a frantic approach to the material present. The inclusion of chugging thrash patterns with the riff-work against a lack of industrial keyboard work makes for a vicious and far more engrossing experience against the aggressive digital soundscape created with the ethereal keys and triggered drum-blasts that further the more frantic patterns throughout here. Given the wealth of material here and the excessively bloated running time for such tracks, this easily could've been reduced slightly to prevent wearing out its welcome but still maintains enough positive aspects to be highly enjoyable overall.
Extipicium-Pulvis.Cinis.Nihil (78/100)
The third full-length from one-man Argentine Black Metallers. Simplistic charging Black Metal with straightforward riffing, a lack of deviation in rhythm patterns or structure, and a preponderance of atmospheric melodies dominate this release. Drenched in keyboard arrangments alongside the mid-tempo riff-work and simplistic drumming, the majority of the rhythms here come off taking the main melodies and rhythms into a far more straightforward and atmospheric bent. This includes the occasional burst into more lively riffing and drum-blasts but the fleeting nature of these touches compared to the more simplistic manner the rest of the arrangements come off which leaves the material mainly one-note for a vast majority of the time except for the bursts of speed and aggression that spice up the rhythms somewhat.
Beholder (Ca)-Arcane subreptice (90/100)
The debut from Canadian Black/Thrashers under the name. Frantic blasts of melody-drenched tremolo riff-work, frantic drumming blasts, and thrashy tempos carry this one throughout the blistering running time. The tremolo sections retain plenty of fury and a special spice when given prominence in the mix but are soon dropped for simplistic thrashing arrangements and rhythms that drive the pace forward against the atmospheric sprawling guitar-work. Given the furious nature of the rhythms at play when it goes into all-out thrashing, those sprawling atmospheric arrangements and tremolo patterns offer a dark and eerie aesthetic to the mix that nicely straddles the line between fury and melody. In the end, this really only has the general brevity to go against it with the rest of this scoring incredibly well overall.
Necrophagous (Swe)-In Chaos Ascend (84/100)
The first overall release from the Swedish Death Metal three-piece supergroup. Thick, pummeling classic-sounding Death Metal laced with chugging grooves, the occasional tremolo-picked riff-pattern, and murky, sprawling patterns that offer a dynamic approach with equal parts straightforward intensity and blasting brutality. Given the old-school formulas at play here that keep the song structures barreling along at either frantic fever-pitched or chugging mid-tempo paces, there's very little variation within the tracks rather than when it'll burst into a blasting section following the mid-paced grooves. There's also the rather high mix in the production that keeps the bass more prominent over the guitars at times which makes it clanking along in the background far more present than the thicker production usually found here and makes this sonically less devastating than it should.
Ancesthor-White Terror (82/100)
The fifth full-length from the Mexican thrashers. A charging attack featuring a mix between churning old-school rhythms and frantic drumming that manages to move the tracks from steady mid-tempo chugs to faster thrashing beats. The mainly mid-tempo work is driven by a series of engaging lead-work that brings about a far more enjoyable and vibrant energy level in conjunction with fantastic drum-work to leave a better impression against the mid-paced efforts. Featuring a thicker, more modern-sounding production than a vast majority of the retro-era bands that utilize the majority of the riffing arrangements and patterns throughout here, there's quite a lot to like about it except for the curiously out-of-place female vocals on several tracks at the end as well as it's overall brevity and briefness.
Renascence-Times... (50/100)
The fourth full-length from the Brazilian one-man Atmospheric Black Metal outfit. Droning, ambient riff-work, sprawling patterns, and a generally sluggish approach dominate the release as the majestic three-track release offers very little deviation or forethought overall. Backed by massive walls of reverb-drenched guitar lines that echo continuously throughout the massive track-lengths, there's little beyond the celestial atmosphere invoked here since there's no real direction or pattern to follow along. It just amounts to these ambient-sounding arrangements broken up by periodic cymbal crashes and brief drum-bits that are swallowed up whole by the guitars which basically leaves this a one-note affair without much else going for it.
Leave the Dead-The Cicada King (80/100)
The first release from New Zealand groove-thrashers. Pounding, groove-laden rhythms charging along with the simplistic arrangements and a fantastic mixture of mid-paced with faster tempos create a rather enjoyable offering here. Those dynamic arrangements and up-tempo patterns stick out quite prominently against the static groove rhythms in the riff-work which counterbalances those arrangements leaving the groove to wallow in the mid-tempo sections while the lively thrashing sections inject plenty of speed and variety into the mix. Bouncing nicely between these styles allows for a highly enjoyable balance against the attempt to include more melodic arrangements against the groove on display, creating a slightly off-kilter approach against the aggressive grooves featured but not doing much damage against the music overall.
Insecurity-Intruder of Reality (80/100)
The debut full-length from the Chilean thrashers. Raw, high-energy crossover-inspired rhythms, frantic thrashing patterns, and a generally raucous approach that straddles the line between the hardcore scene and true thrash movements create a lively experience. The short, sharp riffing and compact chugging rhythms drive this one along for the most part while the lengthier running times make for truer thrash-based arrangements within this which blast along at generally frantic speeds for the most part. Despite never easing up on the throttle, the stuttering hardcore punk rhythms in the riff-work manage to keep this one so one-sided it's hard to keep the manic energy engaging for the duration it is as the excessively long traditional thrash arrangements mean that they carry on longer than their interest and leaving this a lot more of a chore to get through than it should.
Power Paladin-With the Magic of Windfyre Steel (92/100)
The debut release from the Icelandic Power Metal group. Bright, joyful melodies, plentiful thrashing riff-work, and a blistering attack leave this one incredibly bombastic and energetic throughout leaving a generally triumphant approach to the material. Bristling with steady, majestic gallops, tight speed metal patterns, and the ability to drop off into a bouncy mid-tempo bridge to connect the melodic arrangements alongside the frantic features, the approach here is generally kept to a higher melodic approach overall. Given the triumphant tone to the arrangements as well as the gloriously higher-register vocals, the approach is varied and overall impressive enough to keep it engaging when it focuses on the old-school arrangements within here which are far more engaging than the progressive-minded tracks at the back of the album which overwhelm this slightly.
Czarna Magia-Merciless Trap of Civilization (79/100)
Warkazfer-Behnilem (82/100)
The debut full-length from the one-man Turkish Black Metal project. Stripped-down, simplified old-school Black Metal fueled by steady, simplistic riffing, rabid drumming, and unyielding patterns driving the speed along with a galloping up-tempo bent. Graced with a clarity that benefits the raw riffing throughout here, the majority of the album contains a furious blast across the spectrum with melodic tremolo guitars, pounding drumming, and atmospheric rhythms that work incredibly well in the context of the short, compact arrangements where this one excels quite well. Branching out to the multifaceted epic at the end comes off ambitiously as the intent is there but the sluggish pacing and atmospheric swirling riff-work just goes nowhere leaving on a somewhat disappointing note but not enough to lower this one that much.
And for our Classic release:
Tankard-Zombie Attack (84/100)
The debut album from the German beer-thrashers. A full-throttle buzz with a manic thrashing energetic groove and relentless drumming unleashing a classic up-tempo beat throughout a general series of patterns here. The majority of the work here is just pure thrash fun, with a series of off-the-wall chaotic riffing and hyper-speed drumming that keeps churning into a thrashing rage with more tight riff-work, thrashing tempos, and those trademark catchy choruses. Frankly, there’s not too much to dislike with this classic first release, beyond the two straight-up punk-influenced songs that stick out like sore thumbs here with their simplistic riffing and uninspired performances that clearly show the band is far too technically accomplished to be bothered with such frivolous activities. The majority of the songs here, though, are clear thrash through-and-through and contain off-the-rails intense and frenetic thrashing with impressive musicianship that would soon become the band’s trademark style in the years to come.
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