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Entrapment come
out of the Netherland’s death metal scene with their newest release
“Through Unseen Realms”. This album features eleven songs of solid,
heavy death metal with some very creative and well performed
passages. The guitars are played with both heavy mid paced guitar
riffs and more straight forward fast patterns. The guitarist does
know how to write, and perform well written guitar patterns, and
even mixes in some well done solos. The drums are done with a lot of
class, and well done patterns going on an all out assault on the
drum kit, to a more controlled mid paced drum style. This is my
first time hearing Entrapment’s music, but this new release mixes
solid, heavy death metal with some melodic dm passages and even some
thrash elements in the guitars. - Patrick
http://entrapment2.bandcamp.com/
http://www.pulverised.net/ |
The thrash metal
scene lately seems to be really growing and making another comeback.
Entrench who have been around for a while, show that the Swedish
thrash metal scene continues to flourish. Entrench are proudly old
school thrash to the maximum here, with their 3rd
full-length they sound like they are straight out of the mid to late
‘80s, when thrash metal was king. The band rip things up with a
speedy assault, filled with swift catchy riffing and slightly
unconventional, but interesting patterns and flow if you pay enough
attention, you will be rewarded with some subtle tasty guitar work.
The drumming punishes and pummels with ferocity and a real high
level of control and maturity. I guess I should not be surprised, as
I just looked up the drummer Mats Blyckert, it appears he has been
honing his craft in the bands Aboth and Dead Awaken as well, playing
almost consistently since 1989! Plus, of course, he has also been
playing in Entrench since 2005. The vocals have that dark, obscured
thrash gruff hiss to them, but unlike the music the vox have a
little more modern influence, from early ‘90s death bands
accompanying the traditional thrash delivery. I have seen a few
reviews comparing them only to Merciless and Sadus, over and over,
which are fair comparisons yet I wondered why all of them came up
with that until I read the bio which names those two bands. I say
that, because I do not know how you could not list the obvious
middle-late ’80 German thrash influence, especially with regards to
Kreator who are clearly a big influence. I thought I even heard a
hint of Forced Entry in there, but I may be imagining things haha.
If you are a die hard fan of classic thrash metal, then you will
love this, it will bring back to you that old great feeling. -
Dale
https://www.facebook.com/entrench http://www.ihate.se/
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It is a pretty
interesting coincidence, at least to me, that I receive an album
from a band not only out of my homeland and even the same province.
But, they are also signed to a record label, which is only a short
drive away from where I now reside in Pennsylvania. It is a small
world I guess. The band plays a style that unlike many sub-genres
these days is not oversaturated. I am talking about Crossover
Thrash, you know thrash metal mixed with healthy doses of punk and
hardcore. Epi-Demic keep it traditional and right down the middle,
with frantic speed showing little to no sizeable swings in tempo or
range, another trademark of the bands that defined the term
Crossover. Epi-Demic do slip in some pretty catchy rhythms into the
riffing framework, at times, which helps keep the interest and
differentiate the songs a little more from one another, in turn
producing a light headbang from me. Between the punk and hardcore
influences, I would say hardcore is far and away taking the lead
with a lot of hardcore style cadence to the pacing. Plus, you have
the vocals, which are probably more hardcore shouted style than your
usual gruff thrash vocal staple. Some bands I can hear influence
from on here are Cryptic Slaughter, Wehrmacht, SOD, Crumsuckers, COC
during their crossover period, maybe a little bit of early Nuclear
Assault as well. You often hear in reviews, they are retro but bring
in modern touches, I am not saying that here these guys are old
school all the way, even the production in some ways, but they own
it and are proud of it. So kudos to them for doing what they like,
and not pandering to modern fans, just to try to be more relevant as
it seems like a lot of bands try to do. It might not be mindblowing
stuff, but it is good Crossover Thrash, done unapologetically in the
old tradition with spiked fist to the face. - Dale
https://www.facebook.com/theplaguebegins13 http://www.horrorpaingoredeath.com/
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Coming out of
Belgium’s death metal scene is Epoch, with the cd version of
“Sacrosanct”, which was originally only a digital release back in
2015. The music is heavy death metal, with elements of black metal
and various other genre’s mixed in, to create a very heavy and
unique sound and style. The guitars are nicely performed and well
written; mixing in raging fast speeds, but the guitarist can also
play mid paced sections with similar skill. The music is a nice mix
of fast melodic parts and moving at times into more diverse tones
and patterns. The vocals are brutal death metal growls with some
gruff vocals mixed into a few of the songs. To sum it up, Epoch
create and execute an enjoyable style of death metal with some other
varied minor influences, so if you are a fan of brutal yet unique
death metal then be sure to check this out today. - Patrick
https://epoch616.bandcamp.com/album/sacrosanct
http://www.lavadome.org/
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It is always a
pleasure to receive, for review, releases from the great South
American UG metal scene. So it was very cool to get this album of
Estigma, a band who come to us out of Peru, a country that has a
bigger more quality scene than many people outside of South America
would ever believe. Some might remember I listed Estigma, as one of
my fave bands on a recent review of the Soulgrinder compilation. The
man who put it out, Paul Caravasi seen that and sent me this album,
so all thanks goes to Paul for this review. The band plays deathrash
metal, with pretty equal parts from both sub-genres, possibly
leaning a little more to the thrash side of things. Despite my
preamble about the SA scene, this band actually outside of the well
done decipherable death growls with a slight native accent
undertone, sound very American, as in the United States of America.
To give you a picture of the influences, think of a mixing of Bay
Area thrash (late ‘80s / early ‘90s) and Floridian death metal
(early ‘90s), leaning toward the more clean and polished albums from
those scenes. When I say polished I refer to the total package of
playing, hook laden catchy songwriting and production, which is not
to say it is not heavy as fuck too, because it is! This honestly is
an excellent album, truly quality from top to bottom from the music
itself, to the top notch production and instrumental performances.
Having said that, looking deeper into the history of the band, I was
interested to find out after releasing a demo, EP and an album in
the mid-90s this album is their first release in 19 years!! I assume
the band split at some point or was just put on hold, not sure
either way, but they had an awful lot of time to work on this
record. So, it was a surprise for me, to find out that 50% of this
album is made up of songs from their past works all those years ago.
So I guess this album better be damn good (and it is) if in total it
encompasses twenty years of song writing! Anyway, back to the music,
my two favourite parts were the strong, proficient drum work and the
tasty accomplished guitars, which are expertly crafted and drip with
emotion and class. I think my fave track might be the title track,
which embodies everything great about this band and I am sure is
destined to be a future classic song live for the die hard followers
of this band. Estigma represents yet another fine example among many
of why the South American scene is one of the very best in the
world. - Dale
https://www.facebook.com/estigmaperu https://www.facebook.com/postunderproductions
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Minnesota’s Face
Of Oblivion are back with their second full length “Cataclysmic
Desolation”. They play a brutal death metal style that has a
blending of middle ‘90s sound and some elements of more recent
technical death metal. The drums are played with a lot of skill that
goes from crazed blast beats mixed with some really well constructed
drum patterns. The vocalist is Jesse Watson (singer of Incinerate)
does a great job with his deep, brutal growls, and in a few songs,
there is even a few lines of raw screams mixed with the death metal
growls. If you enjoy brutal death metal, with touches of technical
death, be certain to pick up a copy of Face of Oblivion’s new cd
today. - Patrick
https://www.reverbnation.com/faceofoblivion
http://www.comatosemusic.com
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The German power
metal kings of saying the word king more than any other band, in
that they work it into their name, album title and pretty much all
of their songs! Haha. No, they do not spare the cheese quotient, in
the lyrics and concept. These guys are not resting on their laurels;
it seems like only a couple months ago, I was reviewing their debut
album “Kingdom Of The Hammer King”. This record pretty much picks up
right where the last one left off, which is energetic, uptempo
melodic music that is a little on the lighter more airy side heavy
metal, but still possessing the earmarks of the old traditions. I
still hear influences like Manowar, Blind Guardian, Hammerfall,
Grave Digger etc… The vocals are very good, as you need for this
style; the vocalist has some good range and control over his pipes.
Honestly, like I said just check out my last review, as this is
really is totally a continuation of their last album (though now
with more flute
J),
so if you liked that one you will not be disappointed in this follow
up record. If you have never heard them, I think I have given a
decent idea of what to expect. But in my view, they do everything
very well, it is enjoyable for me, but in the end it is pretty
predictable stuff and not too essential to more discerning or picky
fans of this style. - Dale
http://www.hammer-king.com/
http://www.cruzdelsurmusic.com/
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Hands start
things out with four of the first five tracks on this album, The
Wandering Midget has, as you would expect, the longest track on the
record, despite that Hands of Orlac’s opening song is no lightweight
clocking in at just over 14 minutes long. The band is originally
from Italy, now residing in Sweden, I can hear some of that Italian
influence in there with certain elements of their sound reminding me
of stuff like Death SS, Paul Chain and even a touch of Mortuary
Drape. Hands of Orlac play pure hard rock & metal classic doom metal
of the ‘70s / early ’80s style. I heard some of their old stuff with
faster, more heavy metal guitar featuring more in your face
production. I must say this more laid-back sound and production
really suits them so much better, in addition to an obvious
self-assured maturity now creeping into their songwriting over the
years. The vocals of frontwoman The Sorceress suit the music very
nicely, they are also in the old style and have a really soothing,
spellbinding quality to them which reflects back and adds to the
depressive trippy atmosphere of the music so well. The vocalist also
plays and the band incorporates the flute (a fair bit yet not to
excess), but in a way I can dig, it is kind of slightly lower and
obscured in the mix (past releases the flute was far too loud/high
in the mix for me) giving off more of a cool ‘70s atmospheric,
hypnotic and melancholy vibe. That first song, “Curse Of The Human
Skull” is a minor masterpiece, in my opinion. They follow up that
fourteen minute marathon beauty, with a six minute song (featuring
some more upbeat rocking sections) and two interlude pieces, all of
which keep the quality level on the up tick. Their side is worth the
price of the record alone! I am now in love with Hands Of Orlac,
here is to hoping this is them finding their stride and window into
the sound they will carry forward into future releases. Next, we
move to The Wandering Midget, who appears with only one song “Where
We March The Vultures Follow”, which features the mammoth running
time of 18 plus minutes!! This is the first release for Wandering
Midget in nearly five years so there is excitement for it. We are
treated to some really good dark classic doom metal, but not as much
rooted in the ‘70s as Hands Of Orlac, no they are modern sounding
and owing more to bands like Candlemass and Solitude Aeturnus. The
guitars are more up front, and slightly more biting, but just enough
of the requisite fuzzy doom edge to them. The song starts slow and
melancholic, eventually building tension until the band explodes
with an emotional outburst I found quite poignant and powerful, they
then slowly bring us back down while maintaining their triumphant
depressive gloomy aura all the while. The classic vocals are really
freaking good and are filled with emotion, matching the music in
every way and sometimes, somehow, even surpassing it. This is a
truly a fantastic split album, of which, all classic doom metal
hounds should strive to add to their collection. - Dale
https://handsoforlac.bandcamp.com https://www.facebook.com/TheWanderingMidget
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Impetuous
Ritual’s recent release Blight Upon Martyred Sentience begins like a
storm: the drums and guitar are thunder claps that ominously
resonate overhead as the atmosphere approaches like a noisy curtain
of rain tumbling into the composition. The ambiance is all
encompassing, enveloping you into a murky reality that will be your
home for the 43-minute duration of this album. Cavernous production
quality is a mainstay here, similar to the assembly of Teitanblood
and Grave Upheaval, although Impetuous Ritual utilize this aesthetic
in a way that is very much their own. They allow their instruments
and deep, intimidating vocals to seep through the mesh as the
listener gets to feeling more and more acclimated to the album’s
environment. The further the album progresses, the more the
listener’s eyes adjust to seeing the figures in the surrounding
darkness: shrieking guitar leads that are composed in such a way as
to feel tumultuous while still being tightly executed, for example.
In the track “Apoptosis”, this element occurs overtop the tenacious
drumming from Necros Craigos, which provides an extra layer of
dimension to sink into past the outer layer of the overbearing
production quality. Then comes one of my favorite tracks on the
album, “Synchronous Convergence”, which bears similar attributes,
but arrives at a point where the listener feels completely oriented
to the established setting of the album. Vocals come through clearer
on this track, the guitar work is slightly more distinguishable from
the mixing, and the drumming feels slightly more methodical.
“Sullen” winds the album down to its near closing with a slower
approach to the familiar characteristics of the album, and rings a
foreboding bell to cue the finale. Overall, Blight Upon Martyred
Sentience is a fantastic album from the Australian atmospheric death
metal band that has been consistently unleashing exceptional albums
onto the scene since their conception. – Aaron
https://www.facebook.com/ImpetuousRitual/ https://profoundlorerecords.bandcamp.com
|
 
It was a nice
surprise to receive this disc in the mail. I was a fan of the band’s
first two records, especially the second one “Berserk Artillery
Barrage”. So much so, on the strength of that record, we interviewed
them in Canadian Assault back in the print days, believe it was
issue 6 or 7. Despite it being about 15 years since then, the band
has picked right up where that second record left off, continuing
with that style / sound that made me like them. Invasion has melds a
large dose of catchy melodicism within death metal extremity, but it
feels like they may have turned said ingredient up even further on
“Destroyer Of Mankind”, as this record is as catchy as all fuck. I
still hear that early ‘90s Swedish death metal guitar sound and
style I love so much, however I feel like they toned that element
down a tad, with other influences from the same time period via
other parts of Europe (ala Bolt Thrower, Benediction, early
Sinister) and the US have asserted themselves more prominently.
There is a little more refinement in the material, aside from the
high tunefulness mentioned above; there are some great underlying
guitar fills and patterns that are pure class. I can hear an example
of it right now, as I write this, on the killer song “A Satisfying
Death”. Main man of the band bassist / vocalist Peter Clemens has
his death growling pipes in fine form, as he puts on a commanding
performance consisting of mostly decipherable bestial growling,
which is sure to frighten even a raging bear into turning tail. I
see Peter is still obsessed with World War II, as with past albums,
it is largely or even solely based upon that epic war. I can not
blame him there is a ton of material to be mined (no pun intendec)
from that war, and as a bit of a classic war buff myself, it is the
war I probably find the most fascinating as well, not sure if my
grandfather fighting in that war and on D-Day might have something
to do with my personal interest in the subject. But Invasion do it
justice, the lyrics on WWII are passionate and visceral (with
various audio clip samples to aide in setting the scene), even
rather moving and has me reaching for my Band Of Brothers dvd set,
since it now has an alternate soundtrack courtesy of Invasion. Well
done boys. - Dale
https://invasion2.bandcamp.com/ http://www.officialabyssrecords.com/
|
Iron Fire are
back, with their eighth full length to date, featuring twelve songs
of power metal mixed with traditional heavy metal. The guitars are
written and performed with a lot of skill and maturity, presenting a
lot of class and interesting patterns. The guitars range between
faster and more controlled mid paced ranges, with some very well
composed and great sounding solos mixed into the music. The drumming
as well is top notch, with a varied drum style going from a
semi-fast drum style and sound, to a more mid tempo style. The
vocals are a mix of screams and hollering, to a more well sung,
heavier power metal vocal fashion. This album is a really good power
/ heavy metal band, so if you are a fan of this genre, then be sure
to pick up a copy of this album today. - Patrick
http://www.ironfire.dk/
https://shop.crimerecords.no/
|
Coming out of
New Jersey’s death metal scene, is Kalopsia, with their third full
length “Angel Plague”. Kalopsia play heavy, chaotic death metal
which is not all fast, as the band writes and plays some very good
mid paced sections. The guitars are played with a lot of skill,
their experience level shows through as in their playing, going from
an all out assault of fast riffs and patterns to a more controlled,
well written mid paced passages. The drums follow along in the same
vein, possessing a lot of power and skill, showing variety with more
of a mid paced style in a few songs. The vocals are deep death metal
growls with some gruff screams used in a few of the songs. If you
enjoyed Kalopsia’s previous releases then be sure to check out
“Angel Plague” today. - Patrick
https://www.facebook.com/youwillsubmit http://www.comatosemusic.com/
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I have to admit
I was very interested in this release when I pulled it out of my
mailbox. Just the immediate first impression I received from the
band names, song titles, cover and hell I also like the attitude /
mindset to call your record label Dead Sheep haha. It sounds like
something I would do, Autopsy Kitchen anyone? Anyway, on to this
split, Karonte, a veteran band is up first up with three tracks on
this 22 minute EP. They hail from Spain, which immediately conjures
up past memories of brutal death metal bands, from that country.
Spanish dm bands traditionally tend to have this dark, and very mean
brutal sound and dangerous feeling atmosphere to their music,
Karonte carries this tradition on in fine form. Well, maybe Karonte
has a hint more melodo finesse and catchiness to their riffs,
comparing to many of their countrymen, but only a hint I say. I
would say this is most evident, on the third track “Dominación”,
which incorporates a more distinctive level of heavy metal guitar
histrionics, but also slows down the pace a fair bit and in so doing
brings a doomy feel to the track. Damn, this is a great first half
to the split. Bloody Brotherhood also from Spain, comes at us with
two tracks, “In Tyrant’s Land” & “Thousand Years Of Lies”, both of
which are a little longer than the Karonte hymns. BB has a cleaner,
less dirty (I mean that in a positive way) guitar sound than Karonte,
but also play death metal and do so mostly at a middle pace. Bloody
at first blush, does not seem quite as brutal, but they have their
moments and the brutish bits come at you in sudden fits and starts
like a suddenly striking viper after it took a moment to size you
up. The vocals are growls, but at times have black, hate dipped
emotive vitriol to them, which I like very much and those vocals do
a lot to give the band a certain atmosphere and feel, which could at
times, be reflected more in the music to make the songs more
powerful, in my opinion. I did not enjoy the Bloody Brotherhood side
of the split as much as Karonte, but having said that Bloody have
some really good things going for them and I look forward to hear
more from this young band as they progress into the future. This is
a pretty killer release, I have the disc, but there is also a 10” EP
vinyl version as well. I bet these songs sound fantastic on the
turntable. Whichever version you check out, I have a feeling you
will enjoy it, if you are a death metal lover there is a lot take in
on this release for an EP. I hope to one day find more rotting
pieces of dead sheep’s delicious carcass in the future. - Dale
https://www.facebook.com/deadsheepproductions/ http://deadsheepproductions.es/
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Killing
Addiction first formed at the end of the ‘80s, they released a demo
tape in 1990 and a 7” EP in 1991, before putting out their debut
album “Omega Factor” in early 1993. Did I mention they are from
Florida? I am not sure why they did not get more attention, or more
well known, along with so many of their peers early in the early to
mid ’90s, as people were eating up anything Floridian death metal
back then. The band called it quits some time in 1994/95, but
decided to get back together some years back now. “Omega Factor” (I
had my JL America cassette baby hehe)
is, and was, my only experience back in the day (or since then) with
Killing Addiction. I liked that debut album, it was good early death
metal. Listening back to that album, and then “Shores Of Oblivion”,
it would seem the band has stayed true to their old school dm style,
back then though I think they may have had a bit more dynamic song
structuring. Yet, this more straight forward, stripped down
structuring on this EP, seems to fit them well. If anything, since
the early days, Killing Addiction has slowed things down a tad,
going for a more brooding gloomy vibe with the atmosphere. I kind of
dug how the third track “Extinction Agenda” starts, it fades in
slowly with a sort of muffled effect until everything slowly becomes
clear, not only that but it starts off sounding like you are already
a minute into the song, not something I want on every song but a
really cool effect for one track on here. Besides the heavy dirge
riffs, I think my favourite part of this release is the great vocal
performance, from bassist/vocalist Patrick Bailey. He slides
seamlessly between deep dark growling, slightly nasally growls and
obscured rasping type vocals. He makes those changes in a very
subtle way, so it is not jarring or too different from one style to
the next, just really well done vocals. To end this review I want to
say R.I.P. to guitarist (and brother to Patrick) Chad Bailey, who
passed away a couple months after this recording, and prior to it’s
release. This four song EP is for old school Floridian death metal
fans, who are not obsessed with newer sounding death metal that has
a million riffs and time changes in every song. This band is more
about the song and the music rather than being fast and technical
all the time. Check it out. - Dale
https://killingaddiction.bandcamp.com/music http://www.xtreemmusic.com/
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Italy’s brutal
band Logic Of Denial, are back with their third attack entitled
“Aftermath”, featuring twelve songs. The band plays a brutal and
vicious death metal style and do it with a lot of skill and talented
musicianship. The guitars are played mainly with crazed and fast
riffs and patterns, as well as some well done solos, mixed into a
few of the songs. The vocals are low brutal death metal growls. The
drums are played with some insane blast beats and the drummer does
know how to create and perform well done heavier mid paced skin
beating. If you are a fan of modern brutal death metal then be sure
to pick up a copy of “Aftermath” when it is released. - Patrick
http://www.logicofdenial.com/ http://www.comatosemusic.com/
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Cruz Del Sur are
quickly becoming the champions of heavy metal, the label tends to
have quite discerning tastes and their stable, to me, is beginning
to set the standard for excellence in the genre these days. This
German band is clearly full of energy and very talented. They play
an entertaining brand of heavy metal, which is deeply rooted in the
NWOBHM and I can hear a lot of Iron Maiden at their deepest core.
Much like those heroes and Judas Priest, there abounds some
wonderful soaring twin guitar harmonies. That is the main template
for their sound, but they do have some other influences, as I hear a
bit of 70s and believe it or not, some slight influences from ‘90s
extreme metal. Which is quite the juxtaposition, with some of the
very light airy moments, sitting next to the heavy, gloomy
introspective passages elements. There are some frolicking lively
guitar solos scattered through the album which were engaging and
pleasurable, those solos give off a improvisational vibe to me. One
thing that is a must, if you are even going to attempt this genre is
a good vocalist, enter Alex Vornam. With his soaring clean vocals,
which are possibly a tad too light and not gritty enough for some,
but he fits the music well and has a smooth voice with pretty solid
range. Yeah, this is a pretty kick ass album, displaying real talent
across the board. I guess the only criticism, I might have is some
of the songs are a little too long, about half of the songs are 8 to
10 minutes long. There is nothing wrong with that, but I think maybe
this very young bands experience is a little short, and their
maturity as song writers, needs some more time to develop before
they have the vision and discipline to make such epic length songs.
I have little doubt as I said, with some experience, that they will
be full value for such a gargantuan undertaking. Having said that
those are still good songs, but could benefit from a little
tightening up. But, if you are a fan of the styles I mentioned
above, then I am certain you dig this album. - Dale
https://lunarshadow.bandcamp.com/ http://www.cruzdelsurmusic.com/
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Originally
released in 1989 Brazil’s The Mist is getting their debut album
“Phantasmagoria” re-released through Greyhaze Records. For those who
have never heard The Mist, they played fast and thrashing metal, but
the band was not all blind speed and aggression as the music is
extremely well written and performed. The guitars filled with both
chaotic fast riffs, but do slow to a more controlled mid pace, in a
few of the songs. The guitarist knows how to write some extremely
tight patterns and even does some well done solos in some of the
songs. The vocals are raw thrashy screams with some deeper gruff
screams mixed into the music. If you were lucky enough to have heard
The Mist back in the day, be sure to this up, re-live the glory days
of the classic thrash metal scene. - Patrick
https://www.facebook.com/TheMisTband/
http://greyhazerecords.com/
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Greyhaze Records
is getting set to re-release, yet another Cogumelo Records classic
Brazilian band, this time around it is Mutilator with their debut
album. Originally released in 1987, “Immortal Force” is thrash metal
at it’s best, playing extremely fast thrash showcasing musicians who
know how to write and perform quality music. The guitars are played
with hyper-speed riffing patterns executed with skill and excellent
precision. The guitars do slow to a more mid paced range, at times,
with some nice patterns and solos intertwined within the music. The
drumming, is top notch, with both fast blasting drums and more
controlled mid paced patterns. If you were lucky enough to have
heard this band back in their prime, then you know what to expect,
but if you are a new listener then just imagine fiercest, most
violent thrash metal possible. Check this release out today. -
Patrick
https://greyhazerecords.bandcamp.com/ https://www.greyhazerecords.com/
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Brazil’s raw
thrash black metallers Nervochaos are back with a new release
featuring thirteen songs. The guitars are played with intense, fast
guitar patterns throughout most of the songs. But the guitarist does
slow down to a more controlled mid pace pattern in a few of the
songs. The drumming is done in the vein, with chaotic and crazed
drum patterns, but does slow to a heavier slower pacing. The vocals
are a mix of raw death metal growls and some screaming intertwined
within the mix. If you are a fan of the previous Nervochaos releases
then be sure to pick up a copy “Nyctophilia” today. - Patrick
https://www.facebook.com/NervoChaos https://www.greyhazerecords.com/
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This is the solo
release of Nick Noro, who comes from the robust Bay Area thrash band
Survival, I have reviewed a couple of their releases now, if you
want to check those out. There was already an older re-release of a
Survival recording, which was essentially a Nick Noro solo release
using the Survival name. But this one is quite different, man how to
even begin to describe this, it is so different from Survival and
different from most of what I get to review or choose to listen to.
After a spoken word recount of a victim, who was shot in the head,
it then cuts over to Bruce Buffer from the UFC of all things, doing
one of his trademark intros. So yeah, that is the start of this four
song, roughly eleven minute EP, yes it is weird. The music, which
makes up the rest of “Vietnamm” is actually pretty good stuff, much
better than the old Noro solo Survival record. But it is kind of
hard to describe the music, it consists of cool but random short
songs that are strange hard rock things, which is a mix probably of
who knows what, but maybe stuff like Rollins Band, Faith No More,
Mr. Bungle with some art rock and like pop punk or something. I
obviously have limited references points on these styles. When I
read that description of the style above, I think fuck I don’t want
to listen to that, but honestly if you can stomach that kind of
weird mix, this is actually some pretty interesting and catchy
stuff. One thing it shows for sure, there are many musical sides and
lot of talent, within this tortured (see my Survival review for
details on his imprisonment etc..) artist Nick Noro. This is a
pretty tough sell to most readers of my site, and honestly it was a
tough sell on me too, not my kind of thing either truly, but I can
appreciate the talent and vision going on here. - Dale
https://nbrd.bandcamp.com/
http://www.merdumgiriz.org/
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If you see my
review of this bands album, entitled “The Child Must Die”, you know
I have become a big fan of this band. So, I was very pleased, to
find this new release (limited to 500 copies) in my mailbox. The
main man you should concern yourself with is Mika Mage, who is
Finnish and now resides in Philadelphia, he is generally responsible
for the majority of everything Nihilistinen Barbaarisuus (Nihilistic
Barbarity in English), from the musical creation, to composing and
concept. Though on this release, he has decided to enlist some
friends, and former band mates, to lend their playing and voices to
these songs. I get that feeling, from this release; it is a
collection of songs rather than a cohesive whole. This just feels
like it is Mika letting loose, and stretching his artistic legs,
outside of the album concept, to where the individual songs are
meant to be enjoyed on their own, the opposite of the old saying the
sum of it’s parts… Which I think, on an ep is where you like to see
that kind of thing, which if done well can be a welcome and
enjoyable distraction, whilst you await the next full length album.
Regardless of intentions, Mika’s superior composing skills and
vision are ever present. It is a little different here at times,
compared to the album, but that combination of ambient black death
metal mixed impressively with frosty aggression, yet maintaining
this perplexing infectious, uplifting and triumphant quality that is
fast becoming a celebrated (by me at least) signature of Mika Mage’s
writing style. His style is not easy to describe, but it is a near
perfect blend of ambiance, cold hate and melodicism. The style, on
this on five track nearly 20 minute release, varies more than the
album, nowhere more apparent than vocal performances with no less
than three guest vocalists. Despite the lack of cohesion in that
area, it also adds a certain dynamic, varied quality which is sure
to keep the listener engaged, as all the variant performances are
well done. This is yet another fine Nihilistinen Barbaarisuus
release, which only serves to wet the lips of the bands parched
fans, myself included, who eagerly await the next full length
album! - Dale
https://www.facebook.com/nihilistinenbarbaarisuus
http://satanath.com/sodp
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