Karybdis – From The Depths

Karybdis
From The Depths
Due For Release: 2nd July 2012
Death Metal
Self-Released

Karybdis_FromTheDepthsCover

Groove-laden death metal quintet Karybdis are one of the many rising stars in the UK’s metal underground. Hailing from Britain’s capital of London, the band’s album From The Depths (not to be confused with the two compilations we released) is described as embarking upon an epic, dark journey that creates a colliding sound of metals past, present and future.

The opening track, Minotaur, certainly caught my attention like the beginning of any good story, marrying a subtle classical sound with a titanic assault of riffs that – pardon the pun – feel like the wrath of the minotaur in musical form. The riffs balance perfectly between a furious storm of melodic death metal brutality and groove metal genius. The vocals finalise the mix of fresh sounds, enforcing the dark, almost Hadean grasp of the song. A sight Running Wild feel runs through some of the riffs of the title track From The Depths. The vocals embody the demonic, underworldly sound of the song, capable enough of keeping any listener hooked until the end. An essence of hardcore influences can be heard echoing throughout the guitars and drums in various parts of the track.

Without Wings merges speed metal, death metal and hardcore into a very sagaic and enchanting piece of work, whilst darker, more sinister influences make a stand through other parts of the song, keeping a certain excitement pumping throughout the veins of the music. The classical soundings that make an appearance seem to lure the listener into a trance, much like the sirens of mythology, before allowing the listener crash into the rocks that are Arson Aesthetics, a track that’s beginning is just the tip of a metallic iceberg that is slowly unleashed as the track sails further on into a masterfully blended use of hardcore riffs and metal sounds, with a dash of thunderous vocals.

Worth It has a very crisp, aggressive sound that seems to take on a “no more fun and games” approach, increasing the hostile feel of the album. I Say takes on the same approach as the previous track but with a few slight differences. The main one of which is a Latin-styled medley that comes as a surprise but it creates a new, fresh sound that very few bands could possibly pull off but Karydbis has successfully managed it. Medusa wasn’t what I expected it to be. I was expecting a cold, nihilistic song with more of a doom metal feel but the track is vicious, bloodthirsty and overall brutally perfect.

The next track, Maelstrom, is an interesting one to listen, creating a Children of Bodom-like sound and mixing it with furious riffs and thunderous drum patterns while the vocals bring about enough power to topple a mountain. Marching on towards the end is The Hour Glass, which I consider to be the most fierce and aggressive song on the entire album. Everything during in it, from the masterfully played riffs to the demonic vocal work and even the callous, barbaric use of drums, scream with a bloody voice of pure anger and violence.

DeathToll begins with an interesting percussion section before morphing into a blasphemous beast of pure death metallic goodness that will cause even the most laidback of metal fans to head bang along. The riffs belt out a very psychotic fury that just empowers every aspect of the track, while the vocals scream and growl like Cerberus’ three heads howling for blood. DeathToll is definitely the best way to end any death metal release.

From The Depths is an album filled to the brim with the best parts of death metal and hardcore music, with juicy portions of Greek mythos mixed in. Karybdis have done wonders with every track on the album, making it a release louder than Zeus’ thunder and more dangerous than the titans. Karybdis are certainly ushering in a new take on metal and hopefully they’ll be bringing back some greatness to the British metal scene.

5/5

Nico Davidson

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