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May 16

Album Review: Impalers – Power Behind the Throne

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Album Review, Full Length

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Impalers - Power Behind the Throne

Impalers [Denmark]
Power Behind the Throne
2013
Full Length
Horror Pain Gore Death Productions
Thrash Metal

Along with the numerous outstanding thrash metal acts that have spawned forth of late, Denmark joins in the fun with Impalers releasing their debut full length album Power Behind the Throne, with two prior demos under their belts.

The clean guitar lines on album opener Fear helps to build up some uneasiness in the listener, but the band quickly goes into overdrive, and as the first riffs of Impalers hit the listener, the old school thrash influences that the band has in their music sensibilities are immediately obvious. As soon as the band starts to go full speed ahead, one is quickly reminded of the Bay Area style of Testament and Exodus, fused with the extremity of early Teutonic thrash such as Destruction and Kreator. Songs like See What I See even brings about some Slayer comparisons with the speed and seeming chaos on the track.

For instance the lead work of guitarist Thomas at times can get rather reminiscent of works by characters such a Kirk Hammett, and along with the somewhat technical feel of songs like Power Behind the Throne and the vocals of Saren, comparisons to bands such as Lich King and Havok are drawn as well. The solo on the title track even draws influences from old school heavy metal, and his style would certainly fit comfortably on, say, a Metalucifer record without any awkwardness at all, with that sense of melody without compromising any technicality.

The old school feel is summarised and emphasised by the production quality of the album, with the rather raw and unpolished sound helping to provide a nice 80s feel to the music.

With thrash releases of late often bearing such high levels of musicianship, it is hardly any wonder that thrash has once again started to become the genre of great interest to me. While originality is hardly key for such releases, Impalers have certainly proved and displayed their knowledge and proficiency in the genre with Power Behind the Throne.

Impalers on the internet:
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Horror Pain Gore Death Productions

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May 14

Album Review: Svart Crown – Profane

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Album Review, Full Length

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Svart Crown - Profane

Svart Crown [France]
Profane
2013
Full Length
Listenable Records
Black/Death Metal

When I first encountered French black metal in the veins of Blut aus Nord and Deathspell Omega, I found it hard to understand, much less enjoy these bands. Fortunately, I chanced upon the somewhat more conventional style of Svart Crown with their first two albums, Ages of Decay and Witnessing the Fall, which felt like a nice bridging album between the styles that I was more familiar with and the uniqueness of French black metal. This year sees the band releasing their third full length album in the form of Profane, and with the pleasant surprises that Svart Crown has presented so far, it has certainly got me rather excited.

The style that Svart Crown has laid down on their previous two albums are still rather clear as the band introduces their sound with the introductory track Manifestatio Symptoms, but with the riffing style of Clement and JB, they manage to bring in a slight Polish sound with that chugging and crushing style, sounding as though Behemoth or Hate were playing French black metal. As soon as the madness starts proper with Genesis Architect, one is treated to a dosage of nice, brutal, yet somewhat experimental and unique blackened death metal, and with the combination of the brutal death metal-styled riffs along with the dissonant chords that are in abundance on the album, one can’t help but draw comparisons to their compatriots Aosoth.

The music on Profane also displays the growth of Svart Crown as songwriters, with a marked increase in the complexity and maturity of the songs. While the band retains the elements that they originally displayed on previous offerings, the songs on Profane are much more complex, with the band going through different styles, time signatures and emotions within a single track. Furthermore, the musicianship and chemistry within the band is also evident with the band sounding extremely tight throughout the rollercoaster ride, displaying the technical mastery of each of the members. Drummer Muller’s role in particular is extremely noteworthy and personally enjoyable, as he provides much of the drive on the album.

The atmospheric aspects are also rather prominent on the album, especially on slower tracks like Until the Last Breath, sending shivers down one’s spine. The constantly high tension in the air, combined with the technicality and complexity on Profane, extreme metal fans who enjoyed the recent Nader Sadek and Ulcerate releases would certainly also enjoy Svart Crown‘s latest opus, albeit with a slightly more blackened touch to it.

Svart Crown on the internet:
Official website
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Listenable Records

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May 13

Album Review: Gardarika – Chthonica

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Album Review, Full Length

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Gardarika - Chthonica

Gardarika [Russia]
Chthonica
2012
Full Length
Independent
Progressive/Thrash Metal

The visual aspects of Russia’s Gardarika felt almost like a pagan, folk or viking metal band, but on their second full length album, Chthonica, the band surprises me, instead presenting a proggy style of heavy/thrash metal to the listener.

Opening track Hive Mind quickly puts one in the right perspective, as the galloping riffs of  Ivan hit the listener, and the catchiness in the music instantly gets one bobbing his head along with the band. The talent is immense over here, and each of the members in the band certainly display that throughout. Guitarist Ivan’s fretwork is impressive, and he displays his versatility, going from neoclassical-inspired shredding styles to more melodic and emotional soaring solos, especially on title track Chthonica. Bassist Serge is also outstanding on the album, with his bass presence being rather high throughout, and with plenty of moments on the album giving him time to display his chops like on Nevertheless where he displays his lead style of playing.

Throughout Chthonica, the band’s songwriting skills are also constantly displayed, fusing melody and catchiness with some slight progressive elements, with some rather complex passages that are littered throughout the album. There is also a nice balance of different styles and emotions on the album, and while the first two tracks present a galloping, neck-breaking experience, the band suddenly goes into ballad mode on The Night and Unbending Intent, with the strong emotions reminding me of ballads by power metal bands such as Sonata Arctica, especially in the progression of the track and the melodies on it. This 9-minute long track even brings in some rather operatic elements, creating a large sound that easily overwhelms the listener.

My only real gripe of the album is Alex’s vocals, and this honestly took me quite a number of listenings to get used to, though there are moments where the entire feel and sound of the band bring to mind legends such as Control Denied, and on the ballad he definitely manages to bring out the emotions.

As might be expected, Gardarika‘s main focus on Chthonica isn’t really on the heaviness of the music, but the soothing melodies of the songs on the album have definitely made this a rather enjoyable experience, though if one were to place more attention on the crafting of the song, one would easily realise that there is more than meets the eye on this deceivingly easy-listening album.

Gardarika on the internet:
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BandCamp

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May 11

Album Review: Volbeat – Outlaw Gentlemen & Shady Ladies

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Volbeat - Outlaw Gentlemen and Shady Ladies

Volbeat [Denmark]
Outlaw Gentlemen & Shady Ladies
2013
Full Length
Vertigo Records
Heavy/Groove Metal

I’ve heard Volbeat‘s name being thrown around for quite some time now, but never really thought of checking them out until a friend brought them up a couple of months back, telling me to check their performance at Wacken 2012 out. Since it was professionally filmed footage of their entire set, I thought “why the hell not?” and got instantly hooked on their groovy yet heavy music.

So here we are with Volbeat‘s new album, Outlaw Gentlemen & Shady Ladies, and I have to say there is not a single moment where I don’t find myself enjoying the stuff that the band has placed on the album. The album Intro quickly gives a quick hint to the band’s country/Southern tendencies, and the acoustic guitars and the harp all give a nice buildup in the album. And as soon as Pearl Hart begins, it is one non-stop groovy journey for the listener, as the familiar and charismatic voice of Michael Poulson (the very thing that attracted me to Volbeat in the first place) comes on the audio.

The stuff that is on Outlaw Gentlemen & Shady Ladies see the band further polishing their style, with the big riffs and hooks being extremely radio-friendly, yet maintaining the heaviness and intensity that makes them such a charming act, with songs like Cape of Our Hero. Also, as usual the band has managed to bring in a rather wide range of influences on the album, ranging from the usual country influences, to rock and roll to early Metallica-styled thrash metal, like on the heavy riffs on the intro of Dead but Rising. Along with that there are the also rather subtle displays of technicality, in particular the drumming of Jon who manages to switch styles with complete ease.

There is also a whole host of guest musicians that are present on the album, and perhaps the most prominent one is King Diamond on Room 24, lending his vocals to what is already an excellent album. It is also here where the band displays their ability to write any form of music at all, with the sections with King Diamond‘s vocals being rather suitable for his classic brand of heavy metal, reminding me of my first encounter with Abigail, easily sending chills down my back. Sarah Blackwood’s vocal contributions on Lonesome Rider also adds some nice sex appeal as well, with her vocals being extremely enchanting, and with songs like that on the album, it ensures that one’s ride will never really be lonesome.

Volbeat on the internet:
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MySpace
Vertigo Records

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May 10

Album Review: Cultes des Ghoules – Henbane

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Cultes des Ghoules - Henbane

Cultes des Ghoules [Poland]
Henbane
2013
Full Length
Hells Headbangers Records
Black Metal

Five years after the release of their instant classic Haxan, Polish Satanic black metal horde Cultes des Ghoules return this year with a vengeance with their follow up full length album, Henbane.

Following up with a highly acclaimed album is always a challenge, but Cultes des Ghoules takes it in their stride as would be quickly evident on the material on Henbane. Similar to their previous exploits, there is a rather heavy emphasis on the atmospheric aspects on Henbane, as can be heard in the intro of opening track Idylls of the Chosen Damned. But things start to go into chaos pretty quickly as the first riffs hit the listener, and on top of the usual black metal stylistics, the band has this time included some slight death metal influences as well, with the furiously trem-picked riffs and the resulting tension being rather reminiscent of the Finnish death metal style, adding to the darkness that is already quickly encroaching upon the listener.

Of course, the band does not abandon their original stylistics, and it wouldn’t be exactly right to say that Cultes des Ghoules has polished up their sound on Henbane, since the music on the album remain as raw and filthy-sounding as their previous releases. Yet things are certainly even more thought out now than before, and this has resulted in a more torturous and harsher listening album. The sound of Cultes des Ghoules range from the classics of Norwegian greats such as Mayhem, down to the bestial style of bands such as Canadian maniacs Blasphemy and bands such as Black Witchery, especially in the chaotic, yet extremely precise style of drumming on the album. Along with that tinge of death metal that is now more heavily present in their music, there are even moments where one is reminded of such bands as Bestial Raids and Antediluvian.

The entire album may be one that is rather difficult to sit through for those unfamiliar with Cultes des Ghoules‘ ritualistic style of black metal, and this is pretty understandable with the amount of unease that the band provides. The clever usage of the different vocal styles of Mark of the Devil is one such technique used, going from tortured, inhuman shrieks to whispers, and even providing some sinister laughs from time to time to constantly test and push the sanity of the listener. Furthermore, there is a constant dark cloud shrouding the music, making the listening experience of Henbane all the more ominous. The long track times also mean that such feelings of doom and desolation can be slowly cultivated within the listener, with the repetitive but trance-inducing riffs proving to be rather effective as they are played and replayed to the listener, with songs like The Passion of a Sorceress sounding like a droned-out version of Archgoat with the simplicity but effectiveness in the technique.

To continue proving their uniqueness, the band also includes non-conventional instrumentation on the album such as the additional percussions on moments like Vintage Black Magic and towards the end of Idylls of the Chosen Damned, giving a nice flavour to the music and complementing the ritualistic mood that has been created.

Cultes des Ghoules on the internet:
Hells Headbangers Records

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