HORRENDOUS: "The Chills"

By the time I notice the tag 'old school Swedish death metal' attached to any new album out there, I start losing my interest – not because I wouldn't generally like it, but the scene has been flooding with revivalists who basically do all things right and hence kick ass successfully, but they really don't differ from each other in any way, and because of that the albums are soon gathering dust in the piles of clones. Now that I've been without any exposure to the subgenre for a few months, Horrendous' debut album The Chills sound really damn good. And it is not due to having such a lengthy break from all the clichés, but because this record actually offers something refreshing. Oh, and don't let me misguide you by stating this is Swedish, as the line-up actually hails from the States.

While the first seconds into ”The Womb” could have easily been placed on Left Hand Path, soon after the same introductory melody turns into a sea of tremolo guitars and, hands down, this is one of the sweetest riffs I've heard in its category in a while! This lengthy highlight piece is followed by a couple of more regular in-your-face Swedish blasts, namely ”Ripped to Shreds” and ”Altars” that shows the band's prowess at scathing violence via the use of the thick, suffocating guitar tone charasteristic to the subgenre. The vocals are worth mentioning too, as the deranged mid-level shrieks and groans fit perfectly in. ”The Somber (Desolate Winds)” starts similarly as the two before it, but in its end shifts into an epic, melodic climax. The latter half of the album provides another bunch of noteworthy moments, such as the overall menace on ”The Ritual”, the creepy keyboard ambient interlude ”Sleep Sickness” and the nearly 9-minute ”The Eye of Madness” that concludes the record in riffs that kind of reek of ingenuity. As the length already suggest, you may expect some epic breakdowns in the middle, this time even including some male chanting – until all hell gets loose again.

The Chills is one of the best recent old school death metal albums I've come across and that is thanks to the band's ability to incorporate some sweet melodies (or just plain riffs that have more originality in them than what you're used to hear) into the mix which makes the music rememberable. Not catchy in a mainstream manner, but the occasional slower and emotional (huh!) sections help making the album a lot more digestable and endurable than a downright blast fest of which you remember nothing afterwards. Definitely a recommendable album and, deducing from all the other praising reviews, I'm not the only one who thinks so.

4 / 5

HERESIARCH: "Hammer of Intransigence"

Heresiarch's debut EP Hammer of Intransigence is an example of a record that simply has so devastatingly good looking cover art that you are bound to check out properly what's inside. And in this case the exploration didn't have only positive results, though it is of course certain that these five tracks plus intro are one of the cruelest pieces of black / death metal the Earth has witnessed in 2011.

A little research reveals that half of the band's line-up consists of Diocletian members, so the professionality of the musicianship doesn't surprise so much anymore: Hammer of Intransigence is crammed with a fuck load of insanely fast and precise (yet not triggered) blast beats, and... Well, the drums – snare in particular – dominate the soundscape so heavily that the only thing I can properly remember of the EP afterwards is the monstrous drum work. Hence multiple listens are required, but it doesn't take away the fact that this record is mixed in the same spirit as Proclamation albums are: much focus has been given to the pummelling rhythm section to the detriment of actual riffs, which are a level quieter in the mix. At slower parts the murky riffing does get more distinct, but there's not much slowness on this record in the first place... My favourite track ends up being the last one ”Intransigent” that has the first and last flirts with some kind of melody. Though it's just something really vague, it already creates great dynamics.

So if you're looking for an absurd (that is not said negatively) trip at some very harsh, violent and crude black / death / war metal, and don't really mind if the compositions themselves say nothing, Hammer of Intransigence is a great buy. The atmosphere here is definitely top notch, and sound-wise there's really nothing to complain about: this is a really effective mass of destruction. What I'm lacking here, however, are the memorable riffs. I know that's not a necessity for everyone, and with some bands like Proclamation that applies to me as well, but I find it hard to give Hammer of Intransigence a praising rating just due to the overall feel they have going on in their music.

2.5 / 5

CRYPTBORN: "Into the Grasp of the Starving Dead"

Although Finland has its own history and touch in old school death metal, it seems to be the legendary Swedish scene that has influenced these Finns when they created their first offering, an EP named Into the Grasp of the Starving Dead, a 28-minute feast on graveyards and the stench of rotten flesh. Yes, Cryptborn offers here nothing but old school Swedish death metal. If by now you think you’ve had your share of this style already, do not read further, as there’s nothing whatsoever novel on Into the Grasp of the Starving Dead.

I, myself, am also growing a little tired of the constant stream of bands hailing this early 90s period in metal’s history, but fortunately I’ve had a little break now for, say, a month or two. So at least right now Into the Grasp of the Starving Dead kicks just enough ass to keep me focused throughout the seven tracks, starting with the introductory ”A Feast for the Grave” that, luckily, isn’t a lame synth piece but an actual piece of the very meat: thick, asphyxiating, down-tuned guitars, low growls from the depths of hell, and a somewhat slow tempo. And so the rampage begins and there’s no sign of compromises to be found anywhere - a vague moment of difference is when the accented, ominous church bells hit on the third, self-tield track.

On records like this, it is not uncommon to come across deliberate compositional stagnancy as the bands want to stay within certain borders, so the main focus, at least for me, goes on the atmosphere and production. And these two things are certainly top-notch here: the sound is fittingly ugly and filthy, a lot better than on many other contenders within this style, evoking a horrific atmosphere. Into the Grasp of the Starving Dead can not be recommended to anyone else than the worshippers of the certain old style (look out for the CD version via Dark Descent Records next month), as can be deduced from the above paragraphs already. In its narrow category, the EP is a success that also I like to listen to when the mood hits for the filthiest of death metal sounds.

3 / 5

DEATH STRIKE: "Fuckin' Death"

Death metal in 1985 might not be remembered by anything else than Possessed’s Seven Churches, but there’s actually more that should be known, namely Paul Speckmann and the demo Fuckin’ Death from his band Death Strike. Though the 1985 release was just a minor tape demo, it was compiled six years later to a CD release with another four songs, once again named Fuckin’ Death. Even this release didn’t garner as much attention as it probably should have gotten, but perhaps it will happen now that Dark Descent Records has put it out, in this era of enormous old school and retro worship.

Of course, Fuckin’ Death isn’t pure death metal as we understand it today. You could think of Venom, Hellhammer and Discharge to depict the album to yourself: thrashing, almost punky and hardcore old school metal in a charming eighties production. The four songs of the original tape are the true highlights of the whole: muddy guitars executing that simple yet sweet power chord hell with occasional screeching solos, Speckmann’s harsh (and very harsh were they for that time) vocals really upfront in the mix, and drums steadily battering those primitive blasts.

”The Final Conflict” begins the second part of the album, or more like a compilation, presenting the material from 1991, starting with acoustic guitars, soon after bursting into menacing death / thrash metal riffage with a fuller and bassier sound behind. This material isn’t as crushing as the first, yet presents some very solid old school metal. As a bonus on the recent Dark Descent re-release, there’s another slew of four tracks added to the end, really scruffy sounding live rehearsal tracks that will mostly serve the most hardcore fans of the band. I must admit, though, that the extremely raw sound only strengthens the band’s dark aura here.

Fuckin’ Death isn’t the most memorable collection of songs from those years, but definitely worth of the attention of anyone into the first days of death metal or, in this case, proto death metal. There’s simply no reason to keep Death Strike hidden anywhere as it’s a convincing piece of metal history, even if not the most essential of all. No need for doubts (or some damn MP3 samples), old school metal listeners can make a blind buy in this particular case.

3 / 5

GRAVEHILL: "When All Roads Lead to Hell"

Gravehill is another contender of uncompromising death / thrash / black metal, now releasing their second full-length When All Roads Lead to Hell via Dark Descent Records. No bullshit, this is a soundtrack to all that is solely evil - in good and in bad.

Indeed, the Satanic rampage seems incessant here. At first I’m not harassed by it at all, quite the opposite actually as the first four or five proper songs after the intro kick some serious ass, most notably the highlight ”Extinction” that has the album’s probably only proper lead melodies, a nice ominous sounding addition into the thrashing hell. Vibes of e.g. early Bathory and Venom records run through the album’s veins, and the way Gravehill fuses the three genres (or, in fact, how they play like in those times when the distinction between the three wasn’t yet so clear) is admirable. But after the title track ends, there’s clear stagnation, and there’s only the bookend ”Consvmed by Rats” and its brooding acoustic guitars that make amends.

One feature of When All Roads Lead to Hell is particularly behind the album’s lackluster songs, and it’s the production. While it sounds authentically old school, it’s also quite feeble: drums not having enough power amongst the guitars that also sound somewhat watered down. Overall tightness is lacking here, and a crispier sound could have made the album shine a lot brighter.

When All Roads Lead to Hell will appeal to many fans of the genres’ old school traditions, and in fact it has already garnered positive media attention quite successfully. I might not agree with all the positive comments, because all in all there’s a shitload of other similar albums released on an almost daily basis and this one doesn’t happen to belong to the very best of them. Among the masses of this kind of albums, there’s a lot to choose from and When All Roads Lead to Hell might not be my pick. If only the production was fixed and there were more prominent material on the latter half of the record, then we could consider it again.

2.5 / 5

MIASMAL: "Miasmal"

Everytime I come across another new band playing old school Swedish death metal, I think that okay, this time I won’t score it that high, now it’s time to bash a vapid clone. But after giving Miasmal’s eponymoys debut a few spins, there’s no way I could rate it poorly, even if it isn’t among my favourites when it comes to the 2000s revival of the Swedish phenomenom.

This is mostly due to the production that lacks the asphyxiating, morbid and death reeking atmosphere of, say, the recent Interment debut. The sound is quite huge but also muffled and warm, which is something I wouldn’t prefer to hear on an album of this kind. But what comes to the compositional work here, Miasmal rocks: not with originality (huh!) but with kick ass riffs that are churned with good taste throughout the 38-minute whole that says nothing on the first go, but after a few listens starts to grab better. ”Equinox 432” is probably my favourite of the slew, attacking with great riffage that culminates into a semi-melodic peak towards the end. ”Mists” is another piece worth mentioning here as it briefly introduces some haunting acoustic guitars into the mix.

In addition to the eight track album, there are six tracks more from the band’s back-catalogue on the CD version. I prefer the less careful sound production on these demo and EP songs, though the actual songs aren’t as grabbing as the Miasmal full-length pieces. But, all in all, an old school death metal fan won’t lose anything if he/she invests into Miasmal that not only offers a full-length of good stuff, but also a shitload of solid extra material. As with all the other albums in this field, it’s hard to be create a true masterpiece, but Miasmal surely does its job admirably, nonetheless.

3 / 5