Archive for Progressive Death Metal

Lurid Memory – Dematerializing [EP]

Posted in CD, Metal with tags , , , , , on 30th November 2015 by Paul Macmillan

Lurid Memory
Dematerializing [EP]
Released September 18th 2015
Progressive death metal
Released via Funeral Noise Records

 photo Lurid Memory - Dematerializing.jpg

Although self-described as progressive death metal, there is genuinely a bit more to this band than has come to be associated with the genre tag. A blazing solo is nice, but sometimes you just don’t want to hear every member of a band try to pull one off at the same time for 45 minutes. Lurid Memory, seem to have a firm grasp of both these facts.

This release is a clear development from their chaotic debut Unclear Mental Portraits From Lives Past, in terms of song-writing, carrying much of the same character. However, they have reached a new level of maturity by embracing a slightly more blackened essence, supplementing their already diverse blend of heavy prog, thrash and classic DM. Hints of its presence seem to have been lurking from the off, but on Dematerializing it is allowed to surface with beautiful results. The atmospherics are darker than on their previous releases, and occasionally lend a folky arm to proceedings, bleeding into a more traditional prog sound.

At times, this release is very straight forward, but that in itself is refreshing, and the palette which Lurid Memory have at their disposal should more than satisfy those ravenous for intense musicology in their listening. For me, personally, they have hit the prefect stroke between technical ability and knowing when to rock the f*** out, with the final landing point somewhere between the jagged constructs of Death and the floating ephemera of Cynic.

The one significant draw back with this EP is that it reeks of restricted potential. It would be interesting to hear the results were this lot locked up in an isolated location with nothing to do but write a full album. This is hardly a major flaw, but it appears that the next step is an obvious one. Lurid Memory are already a cracking band, with much to offer the metal world, but it’s hard not to imagine them exploding into something more, given the opportunity.

4/5

Paul Macmillan

Advertisements

Cattle Decapitation – Monolith of Inhumanity

Posted in CD, Metal with tags , , , , , , on 23rd August 2013 by hammersmashedlauren

Cattle Decapitation
Monolith of Inhumanity
Released 8th May, 2012
Progressive Death Metal/Grindcore
Released via Metal Blade Records

Cattle Decapitation is known for their catchy riffs, intense and gore-filled lyrics, and of course their absolutely insane but diabolical vocals. It was no surprise that Monolith of Inhumanity incorporated each of these well-known elements and more. With this album, it really shows how much this band has progressed in their music, going from a more grindcore based song style to adding more structure and memorable riffs into their songs. This was my favorite album of 2012 hands down just for the sheer brutality and for making the music sound heavy without and technicality.

A couple songs that stuck out for me were The Carbon Stampede and Forced Gender Reassignment. Many people are aware that the video for Forced Gender Reassignment was arguably one of the goreiest and most disgusting music videos ever made. However, every time I hear that song I can’t help but windmill at the beginning riff and become excited as the song builds up to the end where it breaks down into a super slammy riff that just finishes it off perfectly. The Carbon Stampede also a phenomenal job of creating build up as the beginning song of the album with a quiet intro that gradually goes into spiraling chaos and heaviness that is consistently heard through the rest of this album.

While I really don’t see any kind of big criticism or gripe about Monolith of Inhumanity, the only thing that seemed kind of off to me was the beginning of the song The Monolith. The slow, drawn out song isn’t something that is commonly used by Cattle Decapitation and found it weird as a song on its own. However, having it be paired with Kingdom of Tyrants in a mini film, it made the song much more of a purpose rather than it just being thrown into the mix of all these fast and brutal songs.

Even after a year, I still find myself enjoying this album and still highly regard it was one of Cattle Decapitation’s best albums. In the span of their career, they’ve definitely grew in their playing and even vocal style, and they will probably continue to grow and to create even faster, more brutal music while, of course, still create music videos and artwork that will make many people squirm. Monolith of Inhumanity is an absolutely incredible album and it’s something every metal fan should listen to!

5/5

Lauren Gowdy

 

Walking Dead Suicide – The Rise Of Resistance

Posted in CD, Experimental, Metal with tags , , , , on 14th June 2012 by tobiasgray

Walking Dead Suicide
The Rise Of Resistance
Due For Release: July 2012
Prog Death Metal
Self-Released

Walking Dead Suicide are a progressive death metal band from Helsinki.  Featuring members of Difuse Content Band and Fitcone, they aspire to create epic tracks described as ‘atmospheric, dark death metal without limits’ in their own words.  The measured pace and down tempo drums betray an affinity for sludgy old school DM, while the extended song lengths and meandering song structures give them their ‘prog’ credentials.

The first thing that struck me is just how similar their vocalist is to Erik Rutan of Hate Eternal.  If someone played me a track from The Rise Of Resistance I’d swear it was an early demo of his.  Musically the ambition is plain, but the epic, labyrinthine music Walking Dead Suicide so eagerly want  to create is beyond their range so early in their career.  Whether it’s through inexperience or a hurry to get an album done, the end result feels a little hollow.  Some experimental sections seem to be put in at random, purely for the sake of extending and (or) disrupting the song.  The solo’s also appear improvised somewhat and once again, through overreaching or bravado, they don’t compliment the music that backs them.

You can never fault musicians wanting to push their own abilities and attempting to create complex music, but I feel that a little more thought and time in the studio would have reflected Walking Dead Suicide‘s vision more accurately.  Unfortunately in its current state, The Rise Of Resistance is the sound of a bands reach exceeding their grasp.

2.5/5

Tobias Gray.

Aeon Of Horus – The Embodiment Of Darkness And Light [2008]

Posted in CD, Metal with tags , , , , , , , on 27th July 2011 by Nico Solheim-Davidson

Band: Aeon Of Horus
Album: The Embodiment Of Darkness And Light
Release year: 2008
Genre: Progressive Death Metal

Hailing from Australia, the four piece death metal out known as Aeon Of Horus [a name also used in Themela for the portrayal of a time of self-realisation] combine technical riffs and drum work with aggressive and violent brutality. Since forming in 2006, Aeon Of Horus have gone to dominate the Australian metal scene with their debut album “The Embodiment Of Darkness And Light”.

”3C321” begins the album with a short, melodic lick in which feral vocals and rugged riffs come straight after. The guitar work is extremely technical, perhaps a bit too technical in places. The drum work is vicious and unrestrained, adding savagery and barbaric stylings to the track. Whilst the track is well composed, it feels as if they is too much going on during in the three and a half minutes. It’s a mediocre track to be beginning the album with.

”Conquering The Speed Of Light” begins with a bit more consistency and less going on in the introduction compared to the previous track. Some of the riffs seem to be more straight forward and with no thrills while there is still a use of technicality through the track. The vocals are certainly beast-like and demonic. The drum work seems to be more acute and calculated as well. “Conquering The Speed Of Light” is certainly an assault upon the listener’s ears – Though this will be no problem for any dedicated fan of death metal. “The Embodiment: Part One – Of Darkness” has a very interesting beginning, being composed only of intense drumming. The guitar section that follows doesn’t seem to favour technicality much, though that’s no problem as the keyboard sections help create an atmosphere. There are some melodic riffs here and there throughout the track which are impressive.

Following after is the track entitled “The Embodiment: Part Two – And Light”. The intro is slower paced for a short while before the face-melting aggression and speed kicks in. The drums are vigilant and acutely played, while the guitars are brutal and angry sounding – the way death metal should be! The vocals are still going strong, retaining the feral, beast-like sound to them. The piano medley during in part of the second half is enchanting, almost like the singing an angel in a world of misery. The acoustic start of “The Pillars” is next, mixed with cunningly played drums. The acoustic guitar sections are masterfully played, lulling the listener into a state of calmness which is soon disrupted by the brutalising onslaught of “Arrogantly Opposing Reality”. The riffs are clever and sharp, whilst barbaric and savage at the same time. The drums are played with great precision, keeping in touch with the rest of the track. The vocals sound slightly like the ones found on a Lamb Of God album, which is no bad thing.

“Icon” is another track with an acoustic beginning, though the track is not entirely acoustic – fortunately enough for those who favour raw, destructive riffs over softer sections. The vocals are on the verge of being black metal vocals in some sections, though still manage to keep a hold of their death metal elements. The riffs can only be described as merciless metal aggression mixed with hateful drum work – the perfect recipe for a good death metal anthem. “Heru-Ra-Ha”, which literally means “Horus sun-flesh” [Also the name of a composite deity in Themela] ruthlessly blasts its way through the album, with intelligent-yet-untamed guitar and drum work, topped with fierce and remorseless sounding vocals. The short acoustic break is unexpected and ruins the track partially, composition wise, however the guitar solo is sheer brilliance and makes one easily forget about the acoustic section.

“As The Earth Shatters (Part One)” is the second to last track of the album. The entire track is calm, solemn and somewhat soothing, composed entirely of orchestration – Which can be a let down for listeners who were expecting neck-breaking riffs and ear-busting drum work. However, “As The Earth Shatters (Part Two)” makes up the let down of the first part as it brings the neck-breaking riffs that the listener is so eager to hear. The drum work is great, sharply composed yet uncivilised at the same time – A great contrast. Listener be warned though, orchestration makes its return on this track as well during in the second half though the raspy, whispered vocals to wonders to make it more enjoyable. The track does end on a final, heavy note fortunately enough.

Australia could soon be the next internationally recognised metal scene – Especially with Aeon of Horus pioneering it. “The Embodiment Of Darkness And Light” is an interesting album indeed. Though there are a few parts which aren’t enjoyable, the album is certainly a genius piece of work and clearly shows the potential of “Aeon Of Horus”. Be you a hardcore fan of death metal or just a casual listener, “The Embodiment Of Darkness And Light” is one album that you must listen to.

4/5

Nico Davidson