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This is 'Liberation through Amplification.'
By
the time of “Death of a Spartan King”
(great track), the EP is well underway and you know exactly what to expect:
blasting fury, with a surprisingly atmospheric bent to much of the riffing. If
you have been digging bands such as Arkaik, Rivers of Nihil, Eschaton,
Apocrophex et al. This is a must listen and this band has great things ahead of
them. The final verdict? Blade of Horus are, indeed, razor sharp!
“Monumental Massacre” CD//DD track listing:
1). Intro
2). Monumental Massacre
3). Succumb to the Owerwhelming Stench of
Necrophagia
4). Inhumane Experimentation
5). Death of a Spartan King
6). Descent into the Cosmic Realm of Everlasting
Madness
7). Return to the Dark Gods
The Review:
Brutal
and technical death metal straight out of... Sydney, Australia?! Well, why
not?! So, what we have is: very speedy blasts, tight sound, very low growled
vocals and screamed vocals and a focused attack of six tracks coming in between
three and four minutes and an intro. It speaks volumes about the dedication of
those involved that bands like this now exist; incredible musicianship and
dedication to a very underground cause.
The
themes take in ancient Egypt (don't think anyone in metal of any genre has done
that before!) mythology and so on. All death metal, all the time! Until recently,
the band did not have a permanent drummer, but with the skills of Kevin Talley
playing session drums, his contribution is A1 in terms of content and
execution. If their newest recruit can match what is on this EP…hats off to
him!
By
the time of “Death of a Spartan King” (great track), the EP is well
underway and you know exactly what to expect: blasting fury, with a
surprisingly atmospheric bent to much of the riffing. If you have been digging
bands such as Arkaik,
Rivers of
Nihil, Eschaton, Apocrophex et al. This is a must listen. It is
long enough to get a real flavour of what the band is all about and short
enough to leave you wanting more. No mean feat for any “genre” band.
“Descent into the Cosmic Realm…”is impossibly
serpentine in its riffing and soloing. Nice vocal effects and production, too.
There is even a bonus track: “Return of
the Dark Gods” is pounding and rolling in delivery- with blasts in place as
well, of course. For fans of tech death, this EP is a must; no doubt, with a
new drummer, this band has great things ahead of them. The final verdict? Blade
of Horus are, indeed, razor sharp!
The band is to be commended for making such an engaging and impressive record. A tech-death hurricane of musicianship heroics.
‘Lucid Dawn’ CD//DD track listing:
1). Intro 2). From The Void 3). Digital Shroud 4). That Which Lies Hidden 5). Awaken The I 6). Fleshwalkers 7). Fusion Of Epochs 8). Lucid Dawn 9). Conjuring 10). Temple Aflame
Arkaik is:
Jared Christianson | Vocals
Ivan Munguia | Bass
Alex Hernandez – Best | Drums
Greg Paulson | Guitars
Miguel Esparza | Guitars (lead)
The Review:
Ah, tech death, where would my weekends be without thee?! After geeking out over the Death discography over the last week, I thought I would venture into the modern age. I'm glad I did, as album number four by these Californian garage and basement dwellers show that they have been doing their practising.
The intro sets the record up nicely before ‘From The Void’lets you know what you could have achieved if you had stuck at playing every night instead of wasting your time with videogames, drinking and, you know, relationships and stuff. Joking and humour aside, this level of proficiency would have been unthinkable in the dark days at the start of the genre- it is just incredible how bands like Arkaik and Eschaton have taken the ball and run with it. “Seven Churches” this is not. It is brutally precise, with that bouncy pro-toolsy production that you really need with this type of stuff (you won't hear much of what is going on otherwise). In fact, the band creates a kind of ‘Digital Shroud’, appropriately enough, that allows them to really flex their muscles with their beastly playing.
I love this type of stuff, and when the bass break comes around the three minute mark... it's just fantastic. Naturally, the drums are hyper fast and hyper accurate, the guitars shred with convincing abandon and the vocals shred vocal chords just as effectively. Of course, it will be very difficult to explain to the layperson what drives musicians to do this: to get this competent and be able to record like this (much less play live convincingly) takes serious dedication and I take my hat off to every musician in this band for it. These guys really do this for the love. It sure as shit isn't the money or any other tangible reward, of which there is very little. It is niche, even within a niche genre, even within a niche larger genre. Tracks which ‘That Which Lies Hidden’ features as many twists and turns as you could hope for, complete with squeals and super cool soloing.
The rock solid blasting that heralds in ‘Awaken the I’(with semi-quaver bass drums underneath) is exactly the kind of move that the band can pull off effortlessly and exactly the kind of thing that most people have no idea how much practice it takes to do (every night, hours a night, for some years and then you have it!). Any fool can learn some “beats” and “play drums, like, er, pretty well” but not many can do this stuff accurately with power and control. I raise my Janus twin kick long board pedals in salute, sir. Take a bow Alex Hernandez-Bent (whose CV reads very impressively indeed) you have delivered a death metal master class.
‘Fleshwalkers ‘takes us over the half way mark in some dramatic style and plenty of substance. Interesting quasi classical breaks too- again, this would have been unthinkably ambitious even 15 years ago. ‘Fusion of Epochs’recalls Schuldiner in its ascending/descending opening but becomes a more brutal affair with stop start riffs and labyrinthine time changes. The title track ramps up the riff quotient considerably- ultra tech, ultra impressive in its musicality. ‘Conjuring’ again features a classical motif to start and then brings the ascent/descent again before dropping into a rather atmospheric and synth laden breakdown type section. Sense of foreboding duly created, the band then proceed to pummel your ears with razor sharp changes.
‘TempleAflame’ finishes this deathly delight of an album in precise style.. And includes an extended outro, complete with voice samples and what have you. Your interest in this type of stuff may well be dictated by your interest in more straight ahead death metal and/or your appreciation of any one of the instruments involved (of course, there will always be some nobhead saying “well anyone could do that if they practised enough...” which is kind of the point; “anyone” doesn't and that is why they can't). If there was any justice in the world, then those at the top of their chosen craft would receive commensurate rewards. For the likes of Arkaik, though, praise from fools such as me will have to be a substitute. Believe me, this is very impressive stuff and exactly what I wanted to listen to this fine Sunday afternoon. The band is to be commended for making such an engaging and impressive record. A tech-death hurricane of musicianship heroics.
As the haze of sunshine finally appears to be descending for the last time and with it the end of summer, let us not despair and instead rejoice as we usher in another feast of music for your listening pleasure, a veritable smorgasbord of riffs, this can only mean one thing? The Sludgelord’s ‘Sour 16’. Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap. Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer. It is not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.
So here is the The Sludgelord’s ‘Sour 16’for August 2015, the 16 records you’re most looking forward too or are currently checking out. Dig in, spread the word and perhaps revisit some records you may have overlooked. The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! All review/band links can be accessed by clicking on the artwork. (Total views at the time of publication are highlighted in red)
16). Eschaton – ‘Sentinel Apocalypse’ (312)
For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.
15). Nightfell – ‘Darkness Evermore’ (320)
“Rebirth” sees the band playing with different melodic black metal elements… which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.
14). Fight Amp – ‘Constantly Off’ (348)
‘In short, I’ve been missing out. I’m really happy to have had a reason to sit down with a band I already thought I knew and find out there’s still so much more to them. I can only highly recommend ‘Constantly Off’, and after this I’m off to check out all the stuff I’ve missed.’
13). Lucifer ‘Lucifer I’ (352)
‘All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow.’
12). = Myrkur - ‘M’ & Gnaw Their Tongues – ‘Abyss of Longing Throats’ (354)
At this juncture, Myrkur has proven to be capable of material that is truly special, with the sort of vivid musical imagination welcome in any genre, metal being no exception. What’s most exciting is what an even deeper exploration of this kind of folkish black metal, rich with creativity might yield a couple of years from now. ‘Gnaw Their Tongues has opened up a portal into hell and is dragging you with him. Fear the worst. Expect to suffer. If you make it out alive, expect some severe emotional trauma.’
10). Six Feet Under – ‘Crypt of the Devil’ (357)
‘This is as pure a strain of death metal as you are ever likely to find: crushing, sawing guitar riots? Check. Throat-expanding guttural vocals? Check. Lurid, obscene song titles, including ‘Broken Bottle Rape’ and ‘Compulsion to Brutalize’? Check mate. If it’s classic death metal grooves you’re after, look no further.’
09). Limb – ‘Terminal’ (371)
All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album
08). Locrian – ‘Infinite Dissolution’ (400)
‘Standout track ‘An Index of Air’ leans into emptiness with a rattling drone, an almost imperceptibly off-time drum pulsing the intro before expanding out into tidal-waves of anguished convulsions blended with blissed out droning black that Deafheaven would burn gasoline-soaked churches to attain.’
07). Carousel – ‘2113’ (420)
‘2113’ is a blur of dynamic, late night booze fuelled journeys filled with timeless hooks and immensely powerful solos. A band that knows how to capture your attention; they filter the music of their childhood heroes add a contemporary twist and their unique flair and create magic. They build on their concrete foundation of strong vocals and catchy choruses, wrap up some tight backing and present a very pleasing album complete with a jazzy little bow.
06) Hivelords – ‘Tapered Limbs of a Human Star’ (424)
'Cavern Apothecary' was a glimpse into the potential this band had at that point. On ‘Tapered Limbs of a Human Star’, they've smashed through the glass ceiling and surpassed the promise they showed. The fact that they're signed to Anthropic Records is both a blessing and a curse; it makes those who know about the band seem like part of a secret club and preserves their cult status. However, had this been released on a label like Relapse, Profound Lore or Candlelight, everyone would be losing their shit and proclaiming this as the best album they've heard this year. It’s simply stunning.’
05). DoctoR DooM – ‘The Seed We Have Sown’ (534)
‘It's a monstrous sound, reminding me of a club scene in many a Bond film, but replace lounge piano or jazz with a much more upbeat rock band. This is Everyman Rock. And they love to stay around with their songs, so look forward to an album full of 4+ minute slabs that will take you along sonic highways of old.’
04). Ahab – ‘The Boat of Glen Carrig’ (551)
‘It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.’
03). Pentagram - ‘Curious Volume’ (710)
Overall, for my money, Curious Volume is a better album than Last Rites- more focused, more inspired and it crackles with life, it really does. It is the best album from Pentagram in a long while and for that we should all rejoice. Legendary for a reason!
02). The Sword – ‘High Country’ (1377)
The length of the album, at 15 tracks, does make getting acquainted with this record a slow process, but in the end you’ll discover there aren’t any dips in form. ‘High Country’ is rich in consistency and across its span, Cronise, Shutt and co. dispel any fears you may have about this release all the while oozing a slick professionalism. They’ve been at this song writing malarkey for a while now, they’re hardened pros and this stands testament to their brilliant legacy.’
01). Ghost – ‘Meliora’ (5382)
‘Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.’
This list features reviews by, Chris Bull, Philip Weller, Kat Hilton, Hunter Young, Richard Maw, James Harris, Dominic Walsh, Chris Markwell, Daniel Jackson, Erik Sugg & Greg Sheriff
,For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.,
‘Sentinel Apocalypse’ CD//DD track listing:
1). Obligatory Conviction
2). Behold The Nexus
3). Immortal Mutilation
4). Achromatic Reign
5). Animus
6). Falsified Existence
7). Intergalactic Annihilation
8). The Beast Is Embedded
9). The Beast Is Awakened
10). Cognitive Hatred
11). Sentinel Apocalypse
Eschaton is
Rob Pattision | Bass
Darren Cesca | Drums
Jared Berry | Guitars
Josh Berry | Guitars
Jason Viteri | Vocals
The Review:
So, technical death metal is alive and well in Massachusetts. No need to go with flowers in your hair- a pair of camo cut-offs and a serious dedication to practising your instrument of choice would be more useful.
From the opener “Obligatory Conviction” you know what you are getting. The drums are lightning fast- blasts, lots of rolls around the kit and so on. The bass is pleasingly audible in the mix and the guitars are incredibly precise. They have a kind of rolling groove to them at times- a little like Immolation.
There are progressive elements to the sound for sure; it's not all brutality. Eschaton having been around since 2002 and it shows in the way the band play precisely and with lots of changes and bewildering speed. The hours of practice it takes to play this stuff is no joke. Having dabbled with playing death metal myself (3/5 demo review in Terrorizer magazine, 1997... oh yeah!), I know that this is the pinnacle as far as metal musicianship is concerned. To be able to produce this kind of sound- live and/or in the studio is the mark of dedicated and talented musicians. The fact that bands like Eschaton do this part time says a lot about those involved- they love it, they are dedicated and they do this for the sheer joy of playing extreme music. Satan knows that this won't pay the rent, but he'll take your soul in lieu.
Naturally, as with most music at the extreme end of the spectrum, a little of this stuff goes a long way. Eschaton know this and they deliver well crafted songs that come in mostly around the four minute mark. There are a couple of shorter sojourns, sure, and the final title track is a weighty seven minutes, but for the most part the band keep it tight and to the point. The vocals are pure death metal- growls and shrieks aplenty as the band whip up a devastating storm.
Unlike the Atheist reissue I reviewed last week, this is not jazzy per se; but there are angular riffs and passages aplenty, albeit with a lot more aggression than the old-schoolers used. It seems that the drummer uses the old Gene Hoglan two-ride-cymbals-played-open-handed trick (they are mixed in each channel) and this is VERY welcome. Any kind of tribute to the masters and particularly the “Symbolic” album by Death scores major points in my book. Indeed, the spectre of Death looms large in some of the riffing, but really this is a composite of the best death metal of the last 25 years.
For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.
New
England-based technical death metal tacticians, ESCHATON (es-kut-on),
are the latest addition to Unique Leader Records' expanding roster of extreme.
A
name signifying the "end of the world" or a
"climax of history," ESCHATON was founded
in 2007 near Providence, Rhode Island and manifests a uniquely
aggressive, stand-alone sound that's at once procedural yet wholly-enthralling.
Comments Unique Leader of their newest recruits, "We are pleased to
present yet another great signing for Unique Leader Records this year. ESCHATON brings
a perfect blend of technicality, power and groove and are sure to turn heads
with their debut album out this Spring."
Adds
the band, "Unique Leader Records has a reputation for signing innovative,
brutal talent, making it one of the most extreme labels worldwide. Every band
on Unique Leader's roster is bad-ass and straight brings the pain. ESCHATON couldn't
be more excited to add their own flavor of punishment to Unique Leader's
growing arsenal."
ESCHATON features
vocalist Jason Viteri,
guitarist brothers Joshua and Jared Berry, bassist Pat Pattison drummer Darren
Cesca (Pillory, Arsis, Goratory, Incinerate). The band self-released their
woefully underrated five-track Wake Of The Ophidian EP in
2010. Elaborated Sick Drummer of the band's output, "ESCHATON...
combines technical skill and thoughtful composition, forging an unforgiving and
aggressive sound that as a listener, will leave you picking up the pieces of
that wimpy thing you called a life. Blending neo-classical progressive death
metal riffs with grooves, solos and epic harmonies, guitarist Joshua Berry has
a writing style that punches your face, many times, and leaves you crying for
more. Not a fruity pie? You will be, once Darren Cesca riddles your body with
relentless blast-beats and lightning-fast fill combinations. Combine all
this with half demon, half angel, half man vocalist Jason Viteri's dynamic
highs, brutal gutturals and greasy long hair and what do you get? Windmills."
This
all set the tone for the sonic brutality that would become ESCHATON's
first full-length, Sentinel Apocalypse. The as-yet-unreleased
album caught the attention of Unique Leader Records in 2014, leading to a
formidable partnership that will expose ESCHATON to metal fans
globally. Sentinel Apocalypse will be released this Spring.
Further details to be announced soon.
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