Deathhammer
Phantom Knights
2010 Witches Brew
"We're gonna get F.U.B.A.R now." - Gabriel Cash (Kurt Russell), Tango & Cash, 1989.
Yeah, I'd have to agree. The short description of Deathhammer would be what might have happened if the original members of Slayer grew up in Norway and became devoted fanatics of Germany's Destruction. As is common with this new breed of thrash metal, the amount of enthusiasm is on a par with the debuts of the legendary old guard. Forget "maturity," forget "song crafting," forget "expanding your horizons" ... really, just forget anything except for putting together some songs that shred, rip, tear, mutilate, destroy and devastate. That's what Deathhammer have done here. Compare the earliest albums of virtually any band versus their most recent work, and chances are that you'll find there's an energy and vibe there that has since gone missing. That kind of feeling is present here in full force. Maybe it's being new in the scene, maybe it's youthful exuberance, or maybe it's just not caring about anything except for violent metal. Whatever the case may be, Deathhammer are on the right path and I doubt there's any plans to slow down or write a ballad. "Phantom Knights" is pure thrash metal to the core... dirty, ugly, in your face... everything that it is supposed to be without anything that it's not supposed to be. If metal is a drug, then this is the kind of high-grade shit that Scarface would be selling to his high end clients.
The "art" of death metal vocals has been lost. There was a time when each band had a vocalist with a distinct sound. You could tell Martin van Drunen from Kam Lee. Or Brett Hoffman from Barney Greenway. John Tardy, Karl Willetts, Marc Grewe, Chuck Schuldiner, Dave Ingram, Matti Karki, LG Petrov, Chris Barnes, Johnny Hedlund, Jeff Walker, Chris Riefert, David Vincent... all of these men had (and most of them still have) their own unique style. These days, what passes for death metal vocals seems to fall into two camps. First, there's the "bastard sons of Barnes," who still try their best to emulate the gutteral gurgling from "Tomb of the Mutilated." This used to be the way that most newer bands went for many years. The idea of sounding lower than low and as unintelligible as possible was appealing to many. But this lot have started to die out over the years in favor of the current "deathcore" sound. More and more vocalists just go for a gruff style with a strong hardcore influence. There's no substance to their voices. No soul. They get the job done, and barely even manage that. They all sound the same, and I doubt that many could tell one from another. There was a time when a death metal vocalist's sound was just as important as the band's guitar tone. Somewhere along the way, that mentality has been lost. There are some bands that still do care about having a unique voice. But the majority of the popular newer bands have vocalists who are indistinguishable from each other.But for a few rare exceptions, the shock value and true extremity of the death metal vocalist has become watered down and diminished to the point of worthlessness.
Interment
Into the Crypts of Blasphemy
2010 Pulverised Records
It's been a long road for Sweden's Interment. Originally known as Beyond, and formed in 1988, they were there at the beginning of the Swedish death metal scene. Unfortunately, they were not among the bands snapped up by the bigger underground labels of the early 90s. They faded into obscurity until only recently. The guys in the band, however, have been in other known acts such as Demonical, Regurgitate, Centinex, Dellamorte, and the cult favorite Uncanny. So it's not like they've been sitting in front of their TV sets playing Halo for the past several years. With a split release with Funebrarum and a compilation of their demos out on the market, the time is right for their debut album to hit us over the head. Which it does with a vengeance, like a pro-wrestler armed with a 2x4. Some may well scoff and say that all of this has been done before, but the fact remains that this is not a bunch of newbies in the scene going back and playing some kind of retro-death metal. This is the real thing from guys who have been around for a long time now. The cool thing is that this disc doesn't consist of re-recorded demo material. Other than maybe one song, everything here is brand new. New, and yet it sounds like it's straight out of 1990. Sounds like this are proof to the bands who "made it" the first time around that "progression" is overrated, "growth" is anything but, and the old morbid way is the only way.
Witchery
Witchkrieg
2010 Century Media
Every few years or so, Jensen takes a break from The Haunted and puts together a more traditional sounding thrash-fest with Witchery. "Witchkrieg" is a little different than what you might have expected though. ... more on that in a bit. Probably the biggest news about this album is that Toxine left the band and Legion (ex-Marduk) stepped in. After hearing him, I can't say that I miss Toxine at all. In fact, the only time I thought about Toxine while listening to this album was when I thought to myself, "I don't miss Toxine at all." The other big news is the guitar solos from the guest stars. Kerry King opens the festivities up with "Witchkrieg." Hank Shermann keeps it up in "The God Who Fell From Earth," Andy Laroque in "Dead to Worse," Gary Holt with Lee Altus on "The Reaver," and Jim Durkin on "One Foot in the Grave." Each of these guys give their parts their own unique spin, with Gary and Lee doing some insane tradeoffs and Hank's solo just being in a class all by itself. I'm sure that guitarist Richard Corpse is trying to figure out just how the hell he's going to play those solos in a live situation. Not surprisingly, Slayer's post 1990 outputs form the cornerstone of what Witchery sound like today. But hold on here... believe it or not, there's also a ton of Mercyful Fate influences on a few tracks as well. This can especially be heard on "The God who Fell to Earth" and "Conqueror's Return." These tracks draw off of both the original Fate albums as well as the reunion era material. There's a little more atmosphere on them, but don't worry. Things go back to slam bang speed thrash before you know it. All in all, this one's a keeper.
Immaculate
Atheist Crusade
2010 Stormspell Records
It's taken three years, but Swedish thrashers Immaculate have finally come up with a second album. Their debut, "Thrash, Kill 'n' Destroy" was a better than average affair, with songs that reminded many of the likes of Holy Terror, early Dark Angel, and maybe a little bit of Death Angel or Raven as well. Sounds like a nasty potent mix to me. Flash forward to today, and check out "Athiest Crusade." This one boasts of better production, the chaotic sounds somewhat reigned in and refocused, and a little bit more of an 80s heavy metal vibe throughout. Oh, they're still fast, so don't go making the mistake of thinking that they're not. It's just that when you throw in a cover of Fates Warning's "The Apparition," it's not going to be blasted through at a frantic pace. It's possible that Immaculate's version is heavier, but it's definitely not faster. They really did this song right. They kept their own tones and tunings, but stuck very close to the source material instead of going out on a limb and recording an "interpretation". That really helps solidify the idea that Immaculate consists of five regular guys who play metal music and aren't hung up on the idea of "music as art." They've probably belted out this song in practice many times before and the thought of "customizing" it would never have crossed their minds. So yeah, this is music by fans... for fans.
Perdition Temple
Edict of the Antichrist Elect
2010 Osmose Productions
Alright, Angelcorpse is again defunct, but guitarist Gene Palubicki is not. In addition to Blasphemic Cruelty (fronted by Alex Blume of Ares Kingdom), he's also got a two-man project called Perdition Temple. Gene handles everything except for the drums. Those, he leaves to Terry Eleftheriou. Terry played drums for Angelcorpse towards the very end of their existence. He's also been in bands such as Embrace of Thorns, Naer Mataron, and Gauntlet's Sword. Obviously, he's very much in demand, and if he's playing on something of Gene's, he's also damn good. The eight songs on this album are probably about what you'd expect... blasphemous death metal with an extremely strong lyrical content. Lots of killer riffs and solos, and more speed than you can handle. But it's all tempered with good song structures, and nothing ever seems out of place or gets drawn out for too long. There's no wasted space in any of the tracks, no pointless noodling or "wandering around lost" as I like to say. So really, all is well with this album. If you liked Angelcorpse, you'd do well to pick this one up.
I was totally blown away and floored at the same time by Blood Mortized's self-titled debut in 2009, as was just about every person I played it for. In the creation of this ep, the band believes that they have topped their first album. I'm inclined to agree. Before, they had the sound of Sweden from 1990 and 1991. This time, you can add 1988 and 1989 to those years as well. That would have been back in the formative years of both Dismember and Nihilist, for those keeping score. While Bloodbath are garnering the most attention in the "return to the beginning" death metal scene, it's really only because of who is in the band combined with the label push. If you take both of those factors out of the equation and listen to the music on its own merits, I'd have to say that Blood Mortized are better. All three songs here are awesome, but it's the closer, "Rekviem" that really evokes the old morbid, decaying feeling that is the heart and soul of Swedish death metal. The only real fault here is that this is only three tracks. Suffice to say, this is a mandatory purchase. The only question you'll have is what format to pick it up on, as the band plans for it to be out on tape, vinyl and CD.
