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.
First up is the newer releases:
Hammerfall-Hammer of Dawn (92/100)
The twelfth full-length from the Swedish institution. Tough rumbling rhythms, straightforward riffing, and majestic vocals melodies serve this one well like so many of their previous efforts have done. Focusing on the Traditional rhythms present with stripped-down patterns, plodding yet pounding drums, and steady chugging riff-work while melodic accents pepper the arrangements, the majority of this one carries the trademark approach of their more recent work. As a form of variety within here, the band opts for some speedier tracks that bring the energy of their old work back to the forefront which stands out considerably against the mid-tempo thumping tracks that dominate this one. While that might be skewed a little more in favor of slower tracks to faster ones than some might like, overall this is a solid genre effort.
Sabaton-The War to End All Wars (81/100)
The ninth full-length effort from the Swedish Metallers. A fun mixture of energetic riffs, sparkling keyboard melodies, and steady drum-work that balances out the thumping mid-tempo grooves and accessible rhythms that are typically featured here. The more mid-tempo selections focus more on simplified structures, plodding drums, keyboard washes, and overall melodic anthemic rhythms which have a slick, commercialized sound that's still definitely stylistically there's. A few of the faster sections go for thrashier riffing with more energetic outbursts and melodies to focus on these charging sections within accessible arrangements. While it's never unique or original in any way, that doesn't become any grave concern since there's a fine energetic charge on display here that switches up between the styles rather nicely for what it's worth and makes this a solid enough effort.
Deathhammer-Electric Warfare (87/100)
The fifth album from the Norwegian Thrashers. Frantic short riffing, pounding drumming and ravenous, uncontrolled rhythms careen wildly through a blistering set of varied tracks throughout here. While the general approach here is still the same for the most part, that they're switched up between several enjoyable styles makes for a fun time as the tracks alternate between lengthy ragers or short bursts. Both, though, tend to focus on the same tactic with frantic, fiery Speed Metal, rabid tempos, and straightforward patterns that offer s the slightest crimson-accented melody without let-up or much in the way of technical variation as it picks a style and then rages on until the band decides to end. This provides for a wild, rabid experience that can wear thin rather easily if the listener grows tired of the riffing or the song structure on display here but otherwise, there's quite a lot to like here.
Fumigation-Structural Extermination (86/100)
The sophomore release from the Canadian Death Metallers. Vicious, churning groove riffing, staccato drum-work and short, choppy rhythms offer a generally fun experience with some nice work within. The majority of this one working in the slower, grinding chug patterns slows the tempos down considerably with far more emphasis on churning grooves and straightforward drumming for tight, old-school brutality mixed with slight technical flourishes. Spiced up with the occasional burst of blastbeats for slight injections of speed against the grinding chugs, sprawling rhythms with technical bass-sweeps for brief melodic accents, and a thick yet clear production to give this a lot to like, the only drawback here is the repetition of numerous rhythms and patterns that can make the tracks appear the same sometimes. However, it's really not that detrimental in the long run.
Bukog-Dalikmata (76/100)
The debut release from the Philippine Brutal Death Metal act. Short ravenous rhythms, clanking bass-lines and furious drumming set this up quite nicely for a simplified, primitive variation on the style. The quick, buzzing guitars offer short, frantic bursts of chugging-based violence while centered around brief, to-the-point rhythms with very little variation once this gets going. With the occasional atmospheric break to accent the material while setting up the next section and gurgling vocals to complete the suffocating production, everything here is a generally fine burst of simplistic aggression if only that production didn't make the drum-blasts sound like hitting a metallic snare. While it's a byproduct of the style, this is highly aggravating and tends to offset a lot of the goodwill established beforehand offering this the main detriment here for the most part.
Funeral of God-Gnosis of the Void (70/100)
The debut full-length from the US Black Metal cult. Furious swirling tremolo riffing and simplistic rhythms propel this along through rather unimpressive patterns of raw, frenzied arrangements without much let-up. The fury and aggression come through in the series of frantic rhythms taken here where the rather strong rhythm guitars and pounding drum-work evoke fiery old-school patterns for several enjoyable sections that capture the spirit of the style. When this drops those sections for a singular raw, chugging guitar-line and simple drumming in a sluggish, plodding tempo this becomes quite bland and forgettable. Since the band has a habit of switching between these fiery numbers and then a plodding track afterward it becomes predictable and obvious which will happen next and takes the energy out of this one.
Saxon-Carpe Diem (87/100)
The twenty-third full-length from the British Metal act. Heavy, rumbling riff-work, steady rhythms, and a generally straightforward series of arrangements throughout here that focus of tight churning grooves with simplistic patterns. Focused on generating an energetic riff-arrangement and frantic pace at first, there's a lack of variation afterward with the one-note rhythms offering heavy traditional riffing on through the rest of the track leading to the singular point of being unable to differentiate the tracks from each other. While the energy and thunderous rhythms employed here still manage to provide a lot of great energy throughout, the other factors on display here do crop up from time to time so regardless of the overall competence on display this does get knocked down somewhat.
Martyr (Neth: I)-Planet Metalhead (91/100)
The fifth release from the Dutch Heavy Metal act under the name. Classy old-school Speed Metal passages, fiery riff-work, and steady, straightforward drumming carry this along with a composed, stately elegance throughout here. When focused on raging up-tempo thrashers, the energy kicks up considerably with plenty of fiery patterns, raging shredding, and pounding drum-work that offers the appropriate energetic kick to the material present. While it still maintains a lot to like in the more mid-tempo realm with heavier rhythms and a steady chug-based approach that plods along nicely, there's a noticeable drop in tempo for a more prominent mid-tempo approach that's quite tight and heavy. This gives the album a nice variety and approach that's quite fun and changes this up enough to keep things engaging here for quite a lot to like.
Immolation-Acts of God (96/100)
The eleventh full-length effort from the US Death Metal crew. A ravenous blast of deep, churning riffs, tight drumming, and thick, murky rhythms that offer countless relentless passages that only the band can deliver. The mid-tempo riff-work that focuses on the sprawling, churning rhythms and a thick, oppressive atmosphere perfectly conjure a suffocating sense of dread that goes hand-in-hand with the rather tight and pounding rhythm section. The outbursts into speedier sections are still below the thrashier sections of other similar acts but offer up just enough counterbalance to offer the perfect spices of variation into their formulaic style since most of these aspects come across in anything they've ever done which doesn't make them that much of a surprise. While this might be a bit of a slough to get through with several tracks too many for its own good, the devastation and impact featured here are more than enough to offset the minor imperfections however artificial they may appear.
Day of Wrath-Sand Temple (85/100)
The second full-length from the Ukrainian Metallers. Steady, up-lifting rhythms, groovy riff-work, and sparkling melodic outbursts propel this one along with a fiery old-school vibe that's quite enjoyable. The classy rhythms here offer a bouncy mid-tempo pace that's highly infectious with the steady drumming and thumping melodic leads offered throughout, as the focus on classic mid-tempo arrangements and bright riffing keep this one on a rather enjoyable trajectory. The mid-tempo pace and ability to switch into lengthier progressive elements here with twisting rhythms in the longer running times offers up some even more fun here, although it does get brought down slightly by the odd production that makes the vocal mix far too high so it overpowers the rest of the music at times, especially in the energy-draining atmospheric ballads that are featured throughout here. It's about the main issue that holds this one back.
And for our classic release:
Crasher (Ukr)-The Human Killing (73/100)
The debut release from the Ukrainian Death Metallers under the name. Tight, chugging riffing, plodding drumming, and simplistic patterns offer a stripped-down and ultra-formulaic approach to the style present at the time. Rather than relying on speed or atmosphere, everything here is stripped down and brought to a basic chugging pattern repeated throughout with only slight variations into more kinetic moments that are still not that frantic or upbeat but seem that way by comparison. This sluggishness can make for a rather drab experience, especially with a dry and static production that aims to capture the riffing patterns rather than evoke any kind of dismal atmosphere but there are brief hints in those speedier sections that offer some value here with the simple-minded approach bringing up some likable features in the occasional exotic flourish or rhythmic outburst for a generally likable if unexceptional offering.
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