Inverted Serenity – As Spectres Wither Album Review- 8.9/10 \m/

Inverted Serenity

As Spectres Wither

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Releases October 6, 2017

Inverted Serenity is:

Benjamin Deveau (Moira) – Drums
Drew Peacock (Parasitism) – Guitars, Vocals
Marc-André Simard – Guitars, Vocals
Tomas Ingham (Madeira, Deterrent) – Bass, Vocals

Tracklist:

1. Dead Dialectics
2. Mitral Genesis
3. We Who Wander
4. Cornerstones
5. Paragon
6. Mechanical Gods
7. Grave
8. Lunar Cradle
9. Mountains of Stoke (Hidden Track)

Inverted Serenity began their journey back in 2009 to create an eclectic blend of all things metal to be molded into a form of heavy music that will appeal to the masses, from the black metal, death metal, and even some hardcore and thrash mixed in. They are like an eight headed beast ready to rip through all barriers and norms to deliver an album that can be played start to finish without hearing the same thing twice.

Inverted Serenity had this to say about the album:

“For us, this album represents a great leap forward both in terms of production quality and song writing. We were more familiar with the process of writing and recording this time around and that experience went a long way in making this album better sonically and musically. With that said, we don’t really have a consistent formula for writing songs nor do we really limit ourselves to a specific genre or style. This translates into a varied album that pulls a little something from our diverse influences. It’s eclectic but cohesive, at least we hope so!”

With that said, lets get listening and break a few tracks down.

Dead Dialectics

This track starts out with a really good solid melodic acoustic guitar and around the :30 mark you get a little bit from another guitar and then the drums join in and it just slowly builds and builds until you reach roughly the one minute mark with vocals at 1:06 in and this song has a bit an extreme metal feel already.  what a cool build up to listen to and it really gets the listener ready for whats to come (or so I thought). The vocals are chaotic and you can hear there’s multiple vocalists at this point sounds to be about three,  all handling their respective ranges and I really dig how right around the 1:50 mark the song starts to build up and then as soon as we reach the two-minute mark things have gone even more chaotic.Right around the 4:30 second mark we get a little bit of a guitar solo and it sounds like the guitar solos are swapping and they’re just building off of each other.  Right around the 4:53 mark I like how the drums follow the particular guitar solo riff. The song is not bad, and clocks in around 6:11 minutes long. The song ends just as melodic as it began,  such an  interesting track to start the album with, but next we got to check out Mitral Genesis.

Mitral genesis

This song starts out with some heavy fuzz on the guitars and some heavy drums sounds almost like its going to be heavy on the extreme metal spontaneity.  When the vocals join in around 20 seconds in, it just sounds as if two of the guys or trading off lines and shortly after they build up a little bit more. However the sound of this song is not like the previous track, it’s got almost a different feel to it, and a different sound but I’m interested to see what this one plays out to be like. Around the 1:10 mark, they play this section where they build up until what sounds almost like a chorus up to the 1:30 mark. This is a really catchy section it’s similar to extreme or blackened melodic metal sounding with a guitar solo that comes out of that right around the 1:40 section. I am  really digging the sound of that guitar during that solo also its captivating to listen to,  it really grabs my attention. Coming out of the(roughly)  2:30 mark they come out of that infectious section and then go into a different sounding section altogether where the vocals are like almost rapping the lyrics yet still maintaining the vocal characteristics for a heavy hitting song. The song is actually pretty good, I like this so far better than the previous track it’s a little catchier, though I do find that these guys are a little bit out of the norm with their sound in delivery. That is what is compelling me to keep on listening.

We who Wander

This is the third track and this one has a slow chugging guitar riff with drums that follow nicely with a double bass roll. They play out a few bars of this rhythm, and then coming in right around the :23 mark they get into the next section with vocals joining in at the :36 mark. Again this song doesn’t sound like the last one, so far in three songs I’ve heard about seven different styles of metal played. It really is quite interesting to see a band that’s really an amalgam of all different styles of metal and even some hardcore characteristics in their music. Blending the extreme sound that they’ve got with what sounds like a hardcore/metal style from the early to mid 90’s. They come out of that with a guitar solo starting around the 1:45 mark that’s actually surprisingly melodic doesn’t even sound like it fits the same song but yet it does fit. In how they placed it and how they play it. This song is pretty badass and right around the 2:20 mark they get a little bit melodic and then they they bring up the speed with some fucking blast beats right around that 2:40 into it where it’s almost like a blackened melodic death metal sort of chorus and it is very catchy. This is going to be one of my most played songs off this album I’ve found myself to be spinning this track the most I just really dig them a lot exception in the middle it’s captivating in chaotic yet soothing.

Cornerstones starts off like a hardcore metal song you got the the floor tom to snare that classic sort of hard core build up beat and then they go into a hardcore grinding sort of rhythm. Again another track that’s nothing like the previous ones. I wanted to break down all the tracks, but I want the listeners to check this album out themselves. If you find yourself to be a fan of any metal genre, you’re going to find a characteristic from Inverted Serenity that you will like. They appeal to so many different listeners with all the different styles that they are fusing within their own music. Cornerstones starts out with that hardcore sound then they get into radio rock similar to like clutch or  something bluesy and then right around the 3:20 mark they throw in these clean vocals that are  not like pop sounding clean vocals at all. They’re not like emo sounding clean vocals either,  these are essentially cleans and they’re also being yelled at points so while they are clean vocals they’re not your typical cleans and as odd as I thought they sounded at first I’ve spun this track a few times and it fits I don’t know how these guys develop their music but they piece so many things together and make them fit and it’s quite impressive the only way I can describe it as they are essentially a band of organized chaos.

Paragon starts out with a slower and heavier feel to it, but i love the accents on the cymbals during that beginning sequence. when the first set of vocals come in they hav a direct approach and maintain a specific range before the second set of vocals join in and set up the next vocal segment. i am loving the vocals on this album so many different styles and sounds. This song is yet another one that still sounds nothing like the previous track, and that really excites me because I  don’t know what the next song will be like either.  Not to mention the absolutely best moment of this song is around the 2: 38 mark where they pull of this Iron Maiden sounding riff with some echo  to it, and then boom guitar solo and then the vocals come in an join in the melodic metal fashion to match with the guitars.  I am not sure what is my favorite track now just because of the similarity to an Iron Maiden song.  That pretty much bumps things in a positive direction for me as a huge Iron Maiden fan. So, bonus points go to Inverted Serenity for bringing that to the album.


This album has been a trip to listen to, I’m not even sure what song I like most because every song is so damn different you know I mean? The last song on this album which is Mountains of Stoke is a completely acoustic track and again absolutely nothing like any of the other tracks this has made this album to be so interesting for me. Or Paragon which has moments of brutal death vocals. yet melodic guitar sections that sink the hooks in you deep.  I take pleasure in listening to things that make me want to think, that make me curious and often perplex me. If the music is simple, and anyone can do it, then it’s not really that talented, and it’s not really that enjoyable to listen to. When you have bands like Inverted Serenity that are pushing the boundaries and basically taking little bits of every metal genre and some other non-metal genres to make their sound unique. It’s quite pleasurable to listen to. I would strongly recommend to anyone who says that they are an extreme metal fan to check out Inverted Serenity because you’re going to have extreme metal, black metal, death metal, technical metal, hardcore, and a few  bunch of other genres strewn about in it. I’ve got to give this album and 8.5/10 \m/ rating because the music is on point, these guys are very talented.  I mean it’s very odd how well these guys play together with all the different sort of styles that they are playing. From multiple vocalists with multiple vocal ranges and styles, different funky things from time signatures to sounds in the middle of songs. All the while having the three guys with the guitars are doing vocals. I’m not even sure if the drummer joins in for any of the vocal duties but I wouldn’t be surprised if he did. At any rate, Inverted Serenity are talented, they are unique, and they’re going to play a blend of metal that just about anyone’s going to like. I did find that most of the songs were quite enjoyable considering how different they are from each-other. 8.9/10 \m/

 

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/
http://www.badgersmetalbreakdown.com

Social Media Links:

https://www.facebook.com/invertedserenity
https://invertedserenity.bandcamp.com/
https://invertedserenity.bandcamp.com/album/as-spectres-wither
http://www.youtube.com/user/InvertedSerenity
https://www.instagram.com/invertedserenity/

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Spectrum Of Delusion- Esoteric Entity – Album review- 9.2/10 \m/

Spectrum of Delusion

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Esoteric Entity

Released 08/18/2017

 


Tracklist:
Intro     
Beyond Affliction
Dead Weight
Illuminate Eradicate
Reverie
Ruler of Cruel
Unborn Tragedy
Mixotrophy
Timelines

 

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Lineup

Douwe Negenman – Vocals
Nathan Bonkerk – Lead Guitar
Frank van Rijswijk – Rhythm Guitar
Jerry Kamer – Bass Guitar
Jeroen Mostert – Drums

Hey there everyone,  today I bring you the Netherland based technical death metal team Spectrum of Delusion and their recently released album Esoteric Entity.

Forged in 2013 by drummer Jeroen  and Nathan they built the band up from performing covers until Frank joined and then they began their journey into creating killer music. Now the interesting part of all this is they actually had another album written and ready back in 2014 however after reviewing everything they scrapped it because it didn’t adhere to their level of acceptable standards and their sound. A whole album with seven string guitars and a five string bass, scrapped because it wasn’t true to their core.  They set off to create something more pure to their sound and decided to put a fretless in the hands of Jerry and upon that brilliant idea, Douwe joined and everything came together to  get Esoteric Entity finished. This is the debut Album of Dutch Technical Deathmetal band Spectrum of Delusion.

The intro will take you for a melodic stroll into the music with very slight progression, and the only hint they give you is the bass only seconds before the intro ends and “Beyond Affliction” begins.  I am really digging the levels of all the instruments especially the bass.  It is right there and not hiding behind anyone; they deliver a nice simple guitar solo around the thirty-second mark before jumping into the verse with a blasting rhythm from the drums.  Damn this track is awesome, melodic, technical and has a great mix to it, what a great song to start the album with.  It really hooks the listener, especially with the bass, these guys did a killer job on this album.

Dead Weight

This track has a nice build up period lasting just shy of sixty seconds, but I really get hooked by their melodic and captivating sections with the instruments before the first verse begins.  The verse seems to sink the hooks in further.  They keep the song length around four and a half minutes long but I would say about two minutes of that is music without vocals. Nothing wrong with that though, showcasing the talent of all the musicians in the band is a great way to flex their muscles and give listeners like myself a solid idea of what we are working with here.

Illuminate, Eradicate

It has a much quicker set up, not much build up or progression before the first verse however they simply get right down to business this is one of my favorite tracks off the album, and yet it has some of the least instrumental sections of the album.  The song as a whole is very catchy, and the ability to really hear the bass is what draws me in the most.  Spectrum of Delusion is not one of those bands that has a killer guitarist, a drummer that can keep up and then the rest of the guys just fill in the blanks. No, each and every member of this band has talent worth the attention they get.  This song clocks in less than three minutes in length, but damn does it pack a mean punch.  I do wish it had a little more instrumental time however this is such an efficient track I respect the fact that they are able to hook me without the same tools as the previous tracks.  This is a track that has no filler, catchy with some tasty riffs, and still has a bit of a wow factor.

 

Reverie

This one seems to pick up almost the way Illuminate ends, it’s almost like “Reverie” should be a part of illuminate, it just follows up Illuminate so well. Tempo is nearly the same unit the first vocals are heard.  They slow the speed down for dramatic effect, and I find it to be effective right around the 1:36 mark Douwe adds another layer to that slowed down section, really emphasizing the vocals being held long.  This song is one of those songs where typically I hear it’s not as fast as the previous track. My mind begins to wander thinking that the song will just not keep my attention for long. That isn’t the case with this song, I did need to listen to it for a few spins. But the slowed down section grew on me, and it was all because of the vocals.  I went into this track not enjoying it as much, and then let it grow on me, and now I enjoy this song in a different light.

 

Ruler of Cruel

This song has a bit of an ominous buildup, but right around the :09 mark you can hear the bass hit a high note. And delivers two bars of that bass note, a few vocals and then back to that bass note. Jerry Kamer has taken my expectations of this album to a new level, but it’s the saxophone that has piqued my interest now.  Not many bands can pull off a cool album or a cool song and then also incorporate a saxophone into it and maintain the same level of heaviness. Cephalic Carnage, and WRVTH have been able to pull it off. But Spectrum takes things to a different level with the sound of the bass, then the saxophone and a jazzed up section in the middle of a heavy track.  Damn kudos to the guys for pulling it off and then also to Erwin Van Wieringen for playing the saxophone.  Which brings me to another item, session musicians don’t have to be guitarists or drummers they can be saxophonists that add another spicy level to some badass music.

 

Unborn Tragedy

This song really unearthed similarities to bands like Beyond Creation, and Necrophagist and I find myself really impressed by this album.  This song starts out slower than the others, and it has a bass filled melodic introduction that sets up the base layer of the song, and when that bass fades out the next section is up tempo and builds up that next layer in which the vocals are going to start, with a faster energy and a heavier attack.  The tempo changes several times in the song, and yet each transition is very fluid.  There is one section of the song I am not 100% sure I dig it or not.  But halfway through the song they have a section that is a bit repetitive and while it’s not sloppy, it’s not hooking me either. The saving grace for this track  is the drums and the bass.

 

Mixotrophy

The song begins with a quick set of blasts, and then a heavy bass line with a guitar over that making some sweet melodic build up. When the vocals start in, shit has gotten real at this point. The song heads into a fast paced tech death barrage of blasts and just when you have succumbed to that catchy section, they change time and direction slightly.  I am not sure what impresses me the most about this album, there are too many things to list. But I find with some bands too many changes can ruin it for the listener.  We want to be pulled in and stay with the song the whole time.  But with this track the changes are so subtle that they just flow into each other with very little set up for each transition.  They just flow right through the song.  from 3:10 to about 3:49 there are no vocals but a killer instrumental section. I love these instrumental sections Spectrum have added to some of the songs.  I find I enjoy these moments so much because the instruments all blend in well, there is no overshadowing, every instrument is clear, and it adds to the quality of the music.

 

Timelines

This is a great follow-up to Mixotrophy, because of the seamless transition from one track to the next.  This is really the only track I can say has some chugging coming from the guitars, the tone is a bit darker sounding to me, but the actual pace of the song and intensity is right around the same level. But I really absolutely dig the part at the :52 mark, where the vocals have an old school style to their delivery for just a few lines before the blast beats begin. The head movement starts to kick in and you are already hooked by the 1:10 mark. And the song has really only just gotten started. This track is the longest running track on the album but only by a second. The reason I bring that up is because there is so much packed into this song, and it really could have gone on longer. But Spectrum takes the last forty seconds of the song to finish the song out, but at the 5:15 mark they kick off a guitar solo and then fade out. Really leaving me wanting more to come out of my speakers.

 

 

All in all, this album kicks ass, this was my first time hearing Spectrum of Delusion, and I am glad I did. They remind me of a mix between Beyond Creation, Virvum, and Necrophagist.  A truly nice blend of melodic, yet technical/progressive death metal.

This album is great, the production, the balance of instruments to each other as well as the vocals. These guys don’t make up a band, they make up a team. A team that come together and don’t have any one member pulling the most weight through sound and musicianship. The intro track does a solid job getting the listener warmed up and then everything after flows perfectly.  This is an album you can hit play and leave all the controls alone.  Push play, listen, rock out, repeat.  The production of this album is well beyond expectations considering what these guys are asking for in price. Because who doesn’t have two dollars to spare for nine tracks ( eight and an introduction track)? I am digging this album, and I will be keeping my eye out for more from this badass bunch.  9.2/10 \m/

 

Check out the links below

https://www.instagram.com/spectrumofdelusion

https://spectrumofdelusion.bandcamp.com

https://www.youtube.com/user/SpectrumofDelusion

https://www.facebook.com/SpectrumofDelusion

 

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/
http://www.badgersmetalbreakdown.com

 

Inanimate Existance- Underneath a Melting Sky- Album Review – 9.9/10 \m/

Hey guys, got an early album review for you! One we are all super  stoked for ,and that I have already pre ordered…
That’s right, the brand new Inanimate Existence album ‘Underneath A Melting Sky’ which comes out this Friday, August 25th!

 

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Inanimate Existence line up:

Cameron Porras – Guitar & Vocals,

Scott Bradley – Bass & Vocals,

Ron Casey – Drums

Barely a year after Inanimate Existence’s 3rd album ‘Calling From A Dream’ was released, they unleash their The Artisan Era debut. This is also their first release as a 3 piece and damn, Inanimate Existence is not fucking around. They explore new horizons with each release and they seem to absolutely master each new direction they take. This album combines the dark brutality of ‘Liberation Through Hearing‘ as well as the fantastical soundscapes and atmosphere of ‘A Never-Ending Cycle Of Atonement‘. This is a very different album from its predecessor (I personally really enjoyed ‘Calling From A Dream‘).

There is plenty of apparent keyboards and synth that is mixed in perfectly. The synth is done very different than ‘Calling From A Dream‘. Here there are several different tones used throughout and some really fantastic melodies as well. The vibe created this time is entirely different and rather epic. The guitar leads are immaculately written and just soar with the music, and if you thought you liked the bass tone and work in ANECOA, wait until you hear this! Tracks like Forever To Burn, The Old Man in the Meadow, and The Djinn will blow you away! The riffs and overall songwriting is phenomenal here though. The riffs are some of the catchiest in the Death Metal subgenres that I’ve ever heard, and the quality doesn’t drop for a second. There is no lame filler riffs and it all flows really damn well.
There are also some deadly grooves in this album. The title track, In Moonlight I Am Reborn, Blood Of the Beggar & Formula Of Spores all have outstanding groovy parts that will have you keep coming back and will be irresistibly stuck in your head. They leave you no choice but to get right into the music.

Ron’s drumming is completely insane as per usual. I particularly like the grooves he lays out on this album. Super creative with excellent cymbal work. It fits the guitar amazingly and the listener can easily got lost in his sick tightness and creativity. His cymbal and ride and hi hat work in particular just mesmerize me.

Every song is simply outstanding and completely unique. Not only this, but the album flows song to song absolutely perfectly. This album is an absolute masterpiece. Add the amazingly well thought out story behind the albums lyrics and the quite possibly best art I have ever seen to coincide with them, Inanimate Existence has the full package right now. This album is everything they need to solidify their name on some of the sickest tours and get the respect a hard working band like them deserves. Absolute album of the year contender!
There’s still time to pre-order the album!

For fans of The Zenith Passage, Decrepit Birth, Soreption, Virvum, Arkaik

9.9/10 \m/

Music and Lyrics by Cameron Porras
Engineered, Mixed and Masted by Zack Ohren at
Shark Bite Studios in Oakland, CA
Artwork by Justin Abraham

Formula Of Spores

Forever To Burn

LINKS

https://theartisanera.bandcamp.com/album/underneath-a-melting-sky
https://www.facebook.com/TheInanimateExistence/
http://www.theartisanera.com/products
https://www.youtube.com/user/InanimateExistenceUS 

Check out their new singles here

https://www.youtube.com/user/TheArtisanEra

-Brett /,,/(°o°)/,,/

Visit our FACEBOOK page \m/_(><)_\m/
http://www.badgersmetalbreakdown.com

Cytotoxin-Gammageddon- Album Review 9.8/10\m/

Cytotoxin

Gammageddon

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Releases on Friday, July 21st

Grimo (Vocals)

V.T. (Bass)

Fonzo (Guitar)

Jason (Guitar

Stocki (Drums)

 

 

 

 

Radiatus Generis

Rapid fire blast beats, and guitar sweeps set the song up with just shy of fifteen seconds of that chaotic yet intriguing set up. Until the vocals start spitting lyrics. I absolutely love this song; they sink their hooks into you within the first minute of the song.  It has a solid tempo, but the guitar work is impressive. Check out the guitar riff around the :53 second mark, the riff itself has a solid set up, and the actual tone is fitting with their popular concept of nuclear armageddon.  The more I listen to this song, the more I realize they set themselves up for something killer several times before the song is halfway through right around the 1:19 minute mark is a cool set up, and then “We are the Same” and then the brutal groove begins. For about thirty seconds they deliver on a steady groove from the guitars and drums. Meanwhile “we are the same, condemned to perish” can be heard, all the while the song begins to build off of that. Eventually they hit a peak and the rapid fire blast beats and riffing begin to burn a hole in you from the intensity. Right around the 3:00 minute mark the song hits the apex of the song. The section that will repeat, and build until the song reaches the end. That solid minute long end is brutal, ESPECIALLY at the 3:48 mark when you hear “MASSIVE RADIATION DETECTED” and the drums are playing a bulldozing groove, that fucking fits like nothing else could. HOLY SHIT is this what the whole album will be like? If so I am ready for some technical brutality that will be sure to mutate me with the massive radiation detected.

Chaos Cascade

The song begins with a single guitar, a bit of drums and then a quick set up with the vocals before the blasting begins. This beginning sequence sets up the song well, it leaves the listener ready for how they end up breaking out into the first verse. Right around the one-minute mark, they head into a chorus like section. Simple yet catchy and then hits us with some guttural vocals, before transitioning into another section, this time a bit more intense than the last. I find myself really enjoying this album with each transition throughout all songs. This song is great for that, right around the 1:21 mark coming out of that catchy chorus.  The blast beats begin and the guitars sink their hooks in with ease. While the vocals continue to bludgeon with well-timed attacks that jive with everything going on.  This is one of the things I find myself enjoying more about this album that previous ones.  Grimo uses them a bit more sparingly with this album, but the delivery and the timing are on point.  Right around the 2:40 mark, the song rolls right into the same section a little over a minute before only to blast that out in short time before hitting the point of wrapping things up.  The last thirty seconds of the song tie everything up well. They manage to make ninety percent of the song technical, catchy and impressive and the last ten percent is a slower paced section with some groove and still packs a punch. I love it, but I am sure that the title track is going to be following the trend and raising the bar some more.

Gammageddon

The song begins with an almost chaotic yet brief three second set up from the guitars and drums before starting the first verse with the vocals joining in. it actually reminds me of something Despised Icon would have done in their earlier albums.  The song will certainly generate some head and body movement as this verse plays out.  By the time we get to the 1:25 mark we get a section with a killer riff and the intensity of the song builds up.  I mean now I am ready for anything. That amps me up big time, and it lasts about fifteen seconds.  But man the song isn’t even half over yet, they continue to completely destroy me sonically with this killer track.  They hit you at the 2:11 mark with that same killer riff and blasting section to satisfy my withdrawals from the moment before. This is such a killer track, I’m sorry the rest of this review is going to be hell after this song.  The last little drum solo is sooo very simple, and yet that’s all it needs to be. In that moment you can hear the drums crystal clear, I feel as though I was in the same room. Now that, I find impressive they have posted a few studio videos and they did the recording at. But the sound on this album is one of the more impressive aspects of this album.

I feel as though this is a good time to insert the video for Gammageddon so you can see what I mean.



Chernopolis

Now this song right here is the song that has gotten the most spins by me all around. When I first listened to this album I had it on random and this is the first song to play.  Just listen to that beginning. It has this ominous set up, with just enough progression from the drums and guitars to give the listener the feeling that this song is going to beat them to a pulpy mess of body parts. For a solid forty-seven seconds the beginning sequence just sets up the tone, while they come out of that with about another twenty seconds of even more buildup to transition to the first verse.  I have listened to this beginning several times alone, how this song makes me feel is that I can’t stop the song before that beginning sequence has played through its entirety, and then by that time, I am now invested in the song completely. What a killer way to start this song off. It’s a bit more calculated and slower paced. But the intensity of the drums, with the guitar riff makes this a no brainer that this is going to become a fan favorite.  The vocals join in around the 1:11 mark and they have the low guttural delivery before bulldozing the first verse with lows.  This song is a slower pace but it has a groove about it, that will have many moving to the rhythm. But not before reaching the1:57 mark where the guitars pull of another riff that sets up the next section perfectly, only to have that section build up even more. What I am finding more and more from this album is the natural progression of the songs.  I love it, everything is mapped out well and has me amped up to extreme levels. Not to mention the guitar solo at the 2:48 mark. Damn I want that guitar solo to play when I get a call or text. That solo is badass, it’s not a flashy solo, but it is a sweet lick that holy shit if that doesn’t cut right through you and have you ready to throw some horns up and hit the pit.  Right around the 4:19 mark the guitars hit us with another badass lick that gives off an alarm vibe but still has a badass feel to it. They set up a section of complete and utter filthy gutturals that make me turn the radio up louder roll down the windows and welcome all the surprised looks I get. This song has renewed my faith in Cytotoxin, as the last album just did not have as much of an impact on me as I had expected. They deliver a soulful guitar solo around the 5:46 mark before wrapping the song up and ending it to transition into Deadzone Outpost seamlessly

 

Deadzone Outpost

Dead zone outpost is just a track that offers some imagery to the album. They do a killer job with this as it’s not just something to skip through. Not every album needs a track like this to offer theatrics, or imagery. But I find that if done well, makes an impact on the album. I will admit at first listen I was just too eager to wait, I saw the time and realized it wasn’t a song. But the fact that Deadzone Outpost rolls right into “Redefining Zenith” which features Svencho as a guest vocalist.

 

Redefining Zenith

And it begins with a signature sound found often with Belgium blasters @Aborted, this is an unmistakable introduction by Sven De Caluwe. They hook us with that driving rhythm from the guitars and the blasting drums.  Just shy of half a minute they begin to transition in to the first verse.  Which is going to have the listener head and or body moving, because goddamn that’s catchy. Right around the :38 second mark. Sven lays down his first line of the song. And it compliments Grimo very well.  Fast forward to the 1:55 mark where the song is getting ready to transition again.  There is this moment when Grimo lays down a phrase, and then Sven responds with his line. The back and forth as well as the blend of the two vocalists sounds awesome. I’m not entirely sure what I like more the majority of the song which is fast paced lots of blasts and fast guitar lines. Or the heavier slower sections of the song. I sure as shit hope they have Sven as a guest again for future albums because this track is catchy as hell.  Not to mention how they finish this song up. The last line spit around the four-minute mark with a few growls but the guitars and drums sound sick. But I have to say, this track is so good.  It may not be my favorite off the album. But just to clarify, this song is so damn good it would score a 9/10 due to the compatibility of the two vocalists and my ear drums.

Corium Era

I will admit that there are songs with a beautiful roll out on the drums before bludgeoning us with heavy hitting double bass and blistering blast beats. The type of roll out that could be simple, it could be complex, but it’s perfect. And the sound quality of the drums is so clear. It only lasts about one full second, and then guitars come in. So I have just played a loop of the first ten seconds of the song for about a minute and a half. Wow, what an introduction to the nuclear madness that these guys unleash upon the listener. In just a short period of time they hook you, the guitar riff in the beginning continues for the first verse, and the vocals have some mean lows in a few accented areas.  The guitars are impressive on this song, the riff around the 1:03 mark is a great example of the caliber riffage they are slinging on this track.  Just when I think they can’t play something as infectious as the last section, they gut you at the 1:55 mark with a section where the guitars are playing this cool rhythm, drums are emphasizing the footwork for a solid thirty seconds. The whole time if this is being played anywhere, I am pretty sure it could summon a circle pit in any location, at any time.  I mean, teeth are probably going to be knocked out at many shows to this song. they come out of that with a solid final verse. Then around the 2:42 spot they hit us with the final solo of the song. A wisely placed squeal to set up the last thirty seconds of awesomeness, and the song ends.  I have played this song so many times because of the beginning and then by the time the song ends. I was just in metal head mode stuck in that “awe” feeling when you hear something so badass. I am loving this album so far.

Antigenesis

Julien Truchan from Benighted guests on this track so I am interested in the vocal delivery and blend of Grimo and Julien on this. The chaotic guitars in the beginning give you that sense of alarm that they seem to be projecting into the music. Adding to the imagery of the music, the band pulls off guitars like this and its impressive how the delivery is. This song is the shortest song with vocals, and I can respect the fact that I have not been let down with this album yet. I just got hooked by the guitars and drums of this song, I wanted more of those. But to be honest I wasn’t feeling the vocals as much as I had anticipated. I dig the rapid succession squeals around the 2:21 spot but it was because they really flowed well with the other instruments. The song as a whole is badass, I ended up gravitating towards the instruments more than the vocals on this track. Nothing wrong with them, I was just more impressed by the instrumental aspect of the song.  Contagious just like the first half of this album has been.

Outearthed

Some low vocals set up the song with a killer riff that follows and a cool rhythm that just lays down a killer groove with that solo. Grimo delivers a few more squeals in this song, and early I might mention. Not even half way into the song and executed those rhythm matching high pitched eardrum splitters.  I like the section of song around the 1:38 spot. The song builds up, the vocals have a cut up section and then, they assault you with this heavy section that is probably the easiest for them to play. simply put, it just grabs you, they did a great job on this song, and this album. Another few squeals around the 2:20, a growl and then a guitar solo. The song throws down the gauntlet with the change at the four-minute mark. This is the song ending sequence right here. probably the best part of the song for me, i really enjoyed the second half more than the first.

Sector Zero

This song is an instrumental track that delivers heavy doses of image inducing riffs and killer drums. This song will have anyone within earshot, moving to the song.  and what’s that some sort of sound like an alarm around the 1:08 mark. I like this subtle way of ending the album out, it really adds up. They hit us with things like “Massive Radiation Detected” Dead zone Outpost, and then this alarm sound. I love this album.

 

 

I love this album, while I didn’t get moved as much by Outearthed or Antigenesis as much as the other tracks. this album has so much packed into this album. It is catchy as hell and I am sure it can make some AOTY lists with ease.  I feel as though they took a look at their sound and style after signing with Unique Leader Records, and determined that the only thing to do is continue to hone their craft with every note being scrutinized and investigated to determine the worth of that one note, because they sure as fuck made sure to make this album a gem. The guitars on this album are incredible, I am impressed with this album.  The drums are crisp and sound great.  The actual sound quality of this album is something to be happy with. These guys put a lot into Gammageddon, the production is great, and there really isn’t anything I am not happy with or didn’t enjoy.  You only have about less than 23 hours to get on the pre-orders for this album so if you don’t want to miss out on any of those, you can find some links below for getting your copy of this absolutely killer album.

9.8/10 \m/

 

 

Find them on Facebook and give them a like to stay updated-https://www.facebook.com/Cytotoxinmetal/

Or check out their website HEREhttps://www.cytotoxin.de/

Pre-order digital copies- https://uniqueleaderrecords.bandcamp.com/album/gammageddon

 

Merch:

https://www.indiemerch.com/uniqueleader/band/cytotoxin

 

 

-Badger \m/

 

Visit our FACEBOOK page \m/_(><)_\m/

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Godeater- Outerstellar- E.P. review 9.3/10 \m/

Godeater

Outerstellar

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Released: May 31st, 2017

Godeater line up:

Josh Graham – Vocals

Ross Beagan – Guitar, engineering, composing

Andrew Macdonald – Guitar

Will Keogh – Bass

Allan MacDonald – Drums, engineering

The EP begins with an ominous build up. A drum fill begins the music in “The Silent Prophecy” and takes us into the high paced and catchy riffage with powerful and heavy vocals. Not too brutal, but deep for sure. They beat us apart for the first fifty seconds until we get our first taste of real melody, (besides the touches used in the riffing). Then really nice soaring lead. We get brought back into the catchy fast paced riffage. About a third of the way through the song we get some more really nice melodic touches over the riffs. The vocals seem to go along with the music really well. As this lead part with vocals ends, we get somewhat of an interlude like section, that is spacey and ambient. Slowly they build back up starting with the bass and then a pick scrape into the slower heavy riff. This section is quite dark. It feels brooding, and it flows into the next, brief faster section really well. As that section ends we get another interlude section similar to the one in the middle of the song but it begins with an acoustic guitar. It is a nice way to end the song and also flows perfectly into track 2.

“Ethereal Majesty” begins with an almost white noise building up type ambiance with some more sounds that really remind me of Nomatic era Fallujah. Just after a minute they begin this riffage. It also begins brooding and slower, there is a doomy vibe almost. The vocals are killer and heavy as fuck here, then a nice pause into a sick good paced riff. The drums are constantly switching it up and really keep this section’s pulse. They briefly pause and transition with what sounds like some sitar and go into a slammy riff/ tremolo back and forth riff and the drums continue to switch it up and keep us on our toes. They slightly simplify it near the middle, but not for the worse, its pretty groovy and catchy, right before they pick it up to full force briefly again. This is indeed brief as they fade down to a drawn out chordy part with a really lovely lead, into an almost blackened chordy part with equally almost blackened vocals into – WOAH –  definitely a breakdown. They just morphe so many genres and totally killed it. The breakdown does do the classic ‘more dirty’ part and then they nicely flow into a prefectly head bobbing riff to end the song. They slow it ever so naturally and open fade into the last song ending perfectly.
The Nebulon Abhorrency” begins a lot sooner than the others. The open fade soon brings some synth and eerie screams. They make us know some change is coming and begin the high paced and catchy verses. There is some sick melodic double picking riffage going on! I absolutely love it. This song seems to have the most notable synth though it is in every song. This one has almost synth leads at times. After one synth lead part over a cool riff we have a sweet groove! They then slowly let it breath with more synth and then totally melt our faces with fast technical ridding and powerful in your face vocals. The drums have some wicked blasts and are coming at a good pace with the blasts and thrash beats. There is also some really killer guitar fills in that section. They then slow it down to a more doomy vibe once more before the end. Fast double kick and powerful slow riffing which fades into synth that takes us to a close.

Godeater has made a strong impact with these three songs. They are catchy and well structured and have enjoyable production. I can tell there is room to grow but I have no quarrels with this EP whatsoever.

For fans of Fallujah, Bleak Flesh, The Odious Construct, TETHYS, Vale of Pnath

9.3/10 \m/

LINKS:

CLICK THEM \m/
https://www.facebook.com/godeateruk
https://godeateruk.bandcamp.com/album/outerstellar  

 

 -Brett /,,/(°o°)/,,/

Apotheon- Mechanically Consumed-E.P. Review- 9.3/10 \m/

Apotheon

Mechanically Consumed

1 - Front Cover.jpg

Andrew Morris – Drums
Fernando del Valle III – Guitar
Ibrahim Jimenez – Bass
Reece Deeter – Vocals

Ian Burnside – Guitars

Releases on June 22nd, 2017

 

Premonition

This song begins in an epic sounding way. This is something you put on right before you are ready to start something big, whether it be weight lifting, sparring for boxing or another martial art, to just getting yourself in an amped up mood and ready to attack all obstacles that life will throw at you. If there was going to be entrance music for someone and they wanted to be able to effortlessly project their attitude without a single word expressed. This track gets this E.P. set up very well and based on what Apotheon have delivered in the past. I can say that without a doubt the songs that follow are going to be erupting with some tasty riffs, and killer blasts.

 

Tyken’s Rift

This song is the song that will make any gamer past or future feel some connection to the music and also vivid scenery. Just wait until the one-minute mark where you will understand the last statement and then you will be immersed in a world of metal, and video game like imagery.  Now come back to the track titled Premonition, it really jives with this song. Again you get that uplifting and melodic style form the music and also creates a perception of imagery, scenery, and a different dimension or world. I feel as though Reece is hitting a lower range than on the previous songs but then again. I keep getting wrapped up in what sort of imagery you get while listening to this song and having the dialogue at the 1:09 that sounds straight out of a game.  Apotheon are taking the metal making game to some new levels as they are creating music that is not only heavy and addicting but also energizing and spawn images from words and musical notes. However as great as this song is, I know that my favorite track is about to follow.


 


 

Mechanically Consumed

This song begins quietly with a really a subtle amount of notes being played almost at random, before a stringed instrument like a cello lays down what one might expect from an old movie, a horror or thriller to be exact. But then the drums and the distortion begins and the pace of the song goes into high speed.  This song is my favorite off the E.P. in my opinion this is the heaviest track, it has the most jarring riffs, and the vocals are on point.  The hardest part for me is to narrow down what section I like the most, which part of the song gets me the most amped up and excited to listen.  The whole song has that effect on me. For example, right around the 1:43 mark the guitars and drums set up a badass section that is contagious. And it hits right before a solo, the vocals give way for the guitar solo, but only for so long before they are layered over the solo and really add to the reasons why I love it.  Now if that was it I’d say you have a solid track, but it’s not. Because right around the 2:50 mark they slow things down to an almost sideshow or circus sounding section.  Under most circumstances I would have heard this and thought “gimmicks” or “ yea why did they do that, it doesn’t even sound right with the song” but I can’t say that in this situation. It works, it sounds odd, and if they started or ended the song with it, it would have been a flop. But its smack dab in the middle of the most badass song on this E.P. and you haven’t even gotten to the second solo of the song. And this song is minutes less than the previous two tracks.  Apotheon have again packed so much into the song it’s almost unbelievable that they managed to make another killer E.P.

 

The Flesh Machine

All you need to know about this song, is that  some things should be left to mystery,  I typically will not breakdown the last song on an E.P. only because there aren’t that many songs and I want at least one song to be a little bit of a mystery. I just can’t find it in me to do that for this one. It is just too damn good.

The song begins with a subtle progression of the guitar playing a riff that’s panned from left to right while the drums are playing a jazzed up beat to go along with the guitars, while the bass is holding things down. A keyboard strikes a note at the :18 second mark and continues playing with the other instruments. leading up right at the :44 second mark Reece slices through all that buildup with a growl that sets up his next few lines perfectly.  Right around the 1:14 mark they have a section of solid riffing before the next verse. I’m beginning to have conflicting thoughts on which song I like more “Mechanically Consumed” or this one. Right at the 2:43 mark the song takes a deep dive into an uplifting and euphoric section that lasts just shy of a minute and then the vocals attack again. At what is roughly the 3:50 mark, the listener begins to become activated by the music.  Whatever you may be doing at this moment in time, whether it be driving, walking down the street, rocking out in your room, or getting your jam on at the office. This is where you lose all of your collective shit and fucking throw some haymakers, air guitar or air drums and rock the fuck out. I dare anyone who listens to this E.P. to not get ready to take on the world when this song reaches this point. As they come out of one of the most badass moments on this, Ian pulls off a whirlwind of a guitar solo. There is no better way to put it, this song wraps everything up brilliantly.

 

 

 

This E.P. is an awesome little banger to be dropping at the beginning of this summer like this. There is soooo much killer music coming out in 2017, but summertime is the time of year where I look forward to killer tunes and having speakers blasting  with the windows rolled down. This E.P. follows their 2016 E.P. titled The Acension (which gathered attention among Facebook groups following the Technical metal and deathcore scene) and then also the single Tyken’s Rift from January. Apotheon are making a name for themselves, and in a very short amount of time I might add. I am very pleased with this E.P. and has been some solid music to listen to while working on projects. While the E.P. is great I must admit, I have been listening to the advance copy, including instrumental tracks.  Whether or not the guys decide to release this with the instrumental versions or not, my recommendation would be to do it. The music is so damn good. An amalgamated blend of equal parts technical, melodic, and and heavy.  I strongly suggest anyone and everyone who is looking for something new to jam to this summer. Get yourselves over to their bandcamp page and get your copy ordered up because this drops on Friday. 9.3/10 \m/
****UPDATE****

I had to find out about the instrumental versions and I cant tell you how happy I was to hear from Fernando that they will be releasing an instrumental version of this E.P. as well.

“On streaming sites (Spotify being one of them) will have the ep + the instrumental tracks. Bandcamp will be vocal and instrumental versions sold separate.”  “Going forward we will always be offering instrumental mixes. We love the offering, and while we love our vocalist and what he brings to table, we also write this music without vocals considered! And as fans of instrumental music ourselves, it’s always cool to hear A different version of a song!”

So there you have it, there will be instrumental versions available. Now imagine how many,  videos can be made by people doing vocal or other instrument playthrough covers over the instrumental copies. I think Apotheons view on instrumental versions is a brilliant idea.  Metal fans, and metal bands, lets make that a thing shall we?

 

Check out these links for Apotheon:

Apotheon’s Website- https://apotheonband.wixsite.com/apotheon Click it, you know you want to see what happens

 

Apotheon on Facebookhttps://www.facebook.com/ApotheonBand/ Go on show them some love, and like their Facebook page

 

-Badger \m/

 

Visit our FACEBOOK page \m/_(><)_\m/

www.badgersmetalbreakdown.com

 

 

Dark Matter Secret -Perfect World Creation album review 9.8/10 \m/

Dark Matter Secret

Perfect World Creation

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Released June 2, 2017

Denis Shvarts – Guitars
Pavel Semin – Fretless Bass
Andrey Ischenko – Drums

 

  1. Chaos Born

This song is a minute and forty-three seconds long of noises, that are eerie sounding but also sound to me like the sounds are just the instruments being manipulated in ways other than conventional playing thus creating some cool and almost visual soundscapes. What a cool way to start this album off.  I must admit when I listened to it for the first time I was almost disappointed. I mean its dark matter secret I was killer tunes now. But I was also caught up in the daily busy work life and wanted something fast. So I gave this a few more spins and really just let myself open up to it, and it made me appreciate that introductory track that much more.

2. Ancient Gods Genesis

Damn, that first ten seconds just grabs you by the ear holes and lures you right into riff after unrelenting riff. How does one listen to this and not hit the repeat button? I just simply do not know, but I will listen to this song over and over because I just can’t pick out a section I like more. I mean every note that gets played is executed with extreme surgical precision. Each riff raises the bar and leaves the listener in awe wondering how do these guys top this? I mean there is almost no way to distinguish which section, which riff or which block of time I like the most throughout the song. I can only say that I really enjoy eight minutes and nineteen seconds out of the eight minute and twenty seconds of song play. That last second is dead to me, because the song shouldn’t have ended. I mean I guess it has to end at a point. The song is just awesome and if this is what we should be expecting to follow this track I am ready for more.

 

3. Emergence of Time

This song begins in a way that actually reminds me of a song from an old video game. The sound gives a slumber land like vibe.  Giving you that feeling like you are floating away, before the drums start in and the song takes on its first change.  With every change they make though, I just can’t get past the tone of the strings. I really dig their sound; they sound like they have some soul. Some emotion to them, and they pull of riffs like the one around the 4:32 mark. I just find myself going form liking this song, to loving it, and it’s not close to over yet.  They pack so much into the songs that I really just can’t describe all that they packed into this track, but let it be known that as of right now if you are reading this, and you haven’t checked out their Facebook page or Bandcamp page, maybe even something on the Artisan Era Youtube channel. Well, then you did something stupid and wasted your time and dollars on something other than this impeccable release.  Get to it people this is fucking awesome so far, and there is plenty of time left for insurmountable shredocalypse to consume you.

4. Synthesis of Matter

This begins with a nice sweeping riff that sets everything up.  One of the things i really dig about this album is the amount of changes each song goes through, and with each change they all flow into the next. The songs continue progression constantly building and building. What makes it maybe more unique or special is the fact that they are an instrumental band. the progression has nothing to do with any lyrical content, there is no need for a vocalist to add any layers. therefore the strings are the main spotlight (sorry Andrey) and have so much more freedom to unleash their creativity, and talent. This song is becoming more and more another reason just to buy this album. If you like talented musicians, tasty riffs, and a rhythm you can get right into. Well then, this song is right up your alley.

5. Constellation Glows

So this is the first track I really listened to in full off this album I mentioned earlier that I didn’t like the opener at first and wanted something fast. So, like an asshole I skipped ahead, and landed on this gem right away. This is still my favorite song off of this album and often gets the repeat play treatment especially because of sections that just continue to build off each other.  If I simply put down every party, I did like about this song it would be the block of time from :10 to 7:38 because there is no bland moment in the middle of that block of time. I am completely hooked on this song, and is ultimately what enticed me to just sit and listen from start to finish.

6. . Organic Nucleation

Now this song starts with a little simple strumming on the guitars before the drums set up the beat, and the band moves into that direction, of beginning sequence, and then build off of that.  The sound of the guitar at the: 49 mark is so badass and soulful sounding.  However, the drums really hold that base layer of the beat down well.

I am really digging the transition from blasts to keeping a solid rhythm all the while the guitars are just attacking those strings with such unwavering confidence and speed. They take the song through different visual dimensions with sections like the one at the 2:39 mark. They have this nice little softer moment that lasts only about fifteen seconds but it really adds to the song. The up and down, the flow of the song and the fact that it is impossible to be bored or disappointed in this song.  At seven and a half minutes this song is yet another reason why you ought to just buy this.

 

7.  Perfect World Creation

No, I will not tell you how this song goes, or sounds. You just have to trust me that they didn’t end this album with a song that lets you down. But let it be known, it is also a track that justifies buying this album. It is just too good to give away all details.

 

 

All in all, what Dark Matter Secret have done, is make something that tip toes around several metal subgenres’ while also not being able to be labeled as an instrumental band to the likes of STS. Because for what it’s worth, there should never be a suggestion remotely revolving around statements like “For fans of Scale The Summit, Animals As Leaders etc.” sure Dark Matter Secret don’t have a vocalist, they are an instrumental band. But in no way are they like those other two groups I mentioned. The only similarities between them is the lack of a vocalist and that’s about it. Dark Matter Secret take Instrumental to a different level, adding more metal and technical metal influences into the songs. The guitars are on point. And the drums are razor sharp, and fluid. Meaning they go with the flow of the guitars so well, it’s hard to believe the drums aren’t programmed. Because they just sound like they were engineered, no flaws or anything. They never sound like they don’t fit the music, or the sound in general, there is no snare ping, no unbalanced levels. Just a perfect sound and execution. If you haven’t gotten a chance to listen to this, then you are missing out. Dark Matter Secret joined The Artisan Era family shortly before this dropped. If this is what their debut album sounds like with The Artisan Era, then I anticipate they are going to continue to raise the bar with their sound. As they will be surrounded by like minded artists within the Artisan Era organization and therefore gives all of us a reason to stay tuned to what Dark Matter Secret put out after this album. 9.8/10 \m/



 

 

Check them out on Facebook show them some social media love Dark Matter Secret Official

Pick up this album on The Artisan Era Bandcamp page https://theartisanera.bandcamp.com/album/perfect-world-creation

You can also check out The Artisan Era page for more merch The Artisan Era Webstore

 

 

 

-Badger \m/

 

Visit our FACEBOOK page \m/_(><)_\m/

http://www.badgersmetalbreakdown.com

Lectern – Precept Of Delator-album review 7.5/10 \m/

Lectern

Precept Of Delator

lectern

Released: September 23, 2016

LINE UP
Fabio Bava: vocals, bass
Pietro Sabato: guitar
Gabriele Cruz: guitar
Marco Valentine: drums

Today we look at “Precept Of Delator” the latest release by the Old School Death metal band Lectern.  This one has a massive dose of old school death, for fans of that style you may want to keep reading and check out the album stream at the bottom.

Gergal Profaner has an old school death feel right out of the gates, and I like that. I instantly know what I am about to get myself into with this one. And fuck am I pleased with the opening track. In a world full of so many different sub genres it’s nice to hear the bands locking up that old school feel still. Really taking that iconic FL death metal sound from the early 90’s.  Italy’s Lectern do that and then some on this album. Before you make it to the thirty second mark, you have already gone through a few tempo changes, but the riffs hook you.  Right around the halfway point the song has a bit of a set up for some drums and then a guitar solo which gives way to more blast beats, and then the song keeps adding more on.  This song has so much to offer but I am really digging the transition that happens around the 2:30 mark. They have this moment where the song comes back around and then they steam roll right back into the last verse of rolling double bass death.

Palpation Of Sacramentarian begins with a sound clip that is slightly ominous as it sounds like an abandoned building with random noises echoing throughout the empty carcass of a concrete structure. But I like the way the guitar lays down a very short riff, and a pause before the rest of the band comes in all at once with a heavier riff paving the way for more chugging riffs, and the occasional blast beat. This is an album you can easily find the groove and head bang to. This song is almost a solid two minutes longer than the previous track and has already packed in a lot considering. I am most impressed by the old school sound they pull off. For having formed in 1999, they really do a great job on this. Even adding that sound clip around the halfway point of the song, that sounded like chains or shackles.

 

Fluent Bilocation this song sounds like something falling and doing a little bit of a rattle around the ground before the vocals come in with a bit of effect to them and then they settle down into an old school slower tempo death metal vibe. The first verse has a good amount of build up to it around the :45 second mark. They hit a peak right there in the verse and add some blast beats and a catchy riff before going back into the next verse. This is a solid song, not much roof for fluff either, they keep it pretty trim, but they do throw a guitar solo in around 2:54 mark that takes the listener on a short ride before they come back into the last verse of the song.

 

Distil Shambles begins with a fast riff and a few notes to set up the first verse.  As the song really begins to unfold, I appreciate their old school flavor that they stay loyal to. I mean in a day where it’s cool to be old school sounding, but bands still add a modern flare to the music. They don’t really do that, they keep things simple, and keep it old school through and through.  They do a great job with this song keeping everything moving right along but still maintaining that old school groove to it. The thing I like the most about this song is that it has me consistently head banging to it.  It’s got a groove about it, which you lock right into and feel the music for the duration of the song.

 

Pellucid begins with some sort of chanting sermon style sound clip, but only for about twenty seconds before a chugging riff sets in and then the song rolls into the first verse. Not a bad song by any means, but out of the entire album this is the one song I just didn’t get into as much as the others. I’m not about to say the song is not good or that it is bad. It just didn’t affect me the same way the previous tracks have. But for best results you should listen to it and form your own opinion.

 

Diptych Of Perked Oblation has the song locked in from the first chugging riff, the slow but steady build up, just waiting to unleash the old school battery of death metal. This is a song that brings me back to when I first started getting into death metal. This is exactly what you would hear on a CD back in the day.  A simple but bad ass set up, no fluff just  playing and you know the band are all mean mugging while playing that bit.  It’s one of the characteristics that I find to be enjoyable. The changes are subtle, but the riffs are the best part of this song I would say. They stay in the zone and continue to deliver tone and riffs that are appealing. I am not ready to say this is my favorite song yet, but damn I have listened to this one a lot. Especially that guitar solo at the 3:00 minute mark. It has a different tone than I was expecting and it made it that much better for me. I must admit the first time I heard it, it threw me off because I really wasn’t expecting that sound. But hey it works, and now I am ready for the next track.

 

Garn For Debitors is the shortest track on the album, and it packs everything into that 2:15 long brief song.  The beginning is a barrage of blast beats that paves way for a more steady and direct roll from the double bass and heavy riffing.  This song is a good addition to the album because it really continues to push that old school death metal style. But I feel like there was something more I wanted from this song. Its great but it’s not exactly what I had been expecting. I like the energy it has from the beginning but I felt like there was something flat about it by the end of the song.

 

Precept Of Delator the beginning has a cool introduction of what seems like some ominous ambience with chanting and then the song really kicks off musically around the :25 second mark . By the time the vocals coming in you have had about a second or more of a steady double bass roll and the tempo is a bit on the slower side of things. But that does not take away from how heavy this track is.  I personally like this one a lot because it has a groove about it in the guitars, and then the old school flavor adds so much to the mix. It’s the simplicity and then the actual intensity of how heavy they are that really mixes well.  This song is solid and you will find yourself head banging from start to finish, not to mention they throw in a little guitar solo around the 3:31 mark that seems a little one dimensional, but I feel as if they almost do that on purpose to match the old school sound.  Either way whoever is playing the solo they don’t seem to push out of their comfort zone as much as I would have liked to hear.

 

Discorporation With Feral is the album ender, and they brought it all together to wrap the album up on a heavy htting note. They do a great job with this track because it is so straight to the point.  This track is exactly what you will want to hear at the end of this album, and it is exactly what you expect to hear also.  I like the fact that these guys did not under deliver, don’t get me wrong, they also didn’t over deliver. They didn’t go over the top with things, or re-invent the wheel. They play old school death metal, and made an album that is exactly that. old school death metal and it works, it sounds great even the production quality sounds a bit old school, not bad like they decided to save some money and cut corners. No they make it sound like some of the classic death metal albums you love

 

One last thing I want to point out is the killer album artwork, I know I don’t point out the artwork every time but it is still something I look at.  Growing up metal artwork was always something that appealed to me, something I was fascinated with, because not all albums had the same caliber artwork. This album art is exactly what I would come to expect, from the old school death metal sound they pair it with old school death artwork. When it comes to meal albums the artwork is the first thing you notice (if you haven’t heard the album) and it does trigger an impulse inside of you on whether or not it looks like you might like it. With this artwork, there is no mystery on what it’s going to sound like. To me that is some great album artwork, because it also sells the album.  If there was single blade of grass for the artwork, you would have no idea what type of metal, and what to expect. But this has demonic characters, pentagrams, ritualistic depictions etc.

When all is said and done, the album is solid, no matter how many times I have spun it, and how many times I have listened to something and thought maybe I need to listen to it again. The album doesn’t change for me, it’s a solid album but may not  satisfy every metal heads tastes.  7.5/10 \m/

 

 

Check out the links below click, share, spread the word.  \m/

www.lectern.in
www.facebook.com/lectern666
www.myspace.com/lecternband
www.twitter.com/lectern666
www.reverbnation.com/lectern
www.metal-archives.com/bands/lectern
www.instagram.com/lectern666
 

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/
http://www.badgersmetalbreakdown.com

 

 

 

Tethys- Whispers Of Creation

Alright guys! The new Tethys EP “Whispers Of Creation” comes out tomorrow! Get hyped! This is some of the best tunes I have heard all year so far!

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Band line up –

Stevie Bosier – Vocals

Quinn Broderick – Guitar, Clean Vocals & Backing Screams (live)

Cory Medina – Guitar

Shea Broderick – Drums & Piano

Sev Rivera – Bass


Their songs are exciting and very upbeat. After an ominous but interesting sound clip about a supernova, ‘creation itself’, they go into an absolutely punishing series of melodic and technical riff mastery, with some killer groove throw in for good measure. The songs have an amazing flow to them as well. Some bands using groove riffing can get stale but these guys mix them with amazing and catchy technical riffing as well as excellent transitions and nice chordy parts and killer leads. Let me repeat that KILLLLER leads. With an amazing, heart piercing tone. Their grooves are catchy and not generic either. The guitars seem to weave between playing a completely different rhythm lead scheme in and out of excellent riffing with great harmonies as well and sweet grooves that can be accompanied by wicked leads as well. Both of the guitarists solo and both write some absolutely soul touching leads.

Quinn’s solos are the beautiful melodic, artsy ones and they hit RIGHT in the feels. Quinn definitely has a beautiful legato esque tapping technique that he likes to use in the middle of his solos. Fuck is it ever beautiful! Not to take away from Cory’s solos either. The dude absolutely shreds! And his solos are definitely really creative and have their totally epic moments too, the ending of his solo in “Etheral Cypher” has some killer feel, and the way they so fluently switch who is soloing mid-section, sounds amazing and flawless.

In “Progenitor Of Thought”, Quinn and Cory’s solos are separated by a brief and precise stop, powerfully welcomed into Cory’s face melting start along with a piercing scream by Stevie which compliments it perfectly, and builds up to a crazy sweet arpeggio section with a sick riff behind it too! That rhythm solo combination is so damn good! While Quinn’s solo prior to is just super melodic and perfectly written. Some killer ascending runs and arpeggios and then he blesses us with some more of that eargasmic tapping of his into a nice harmonic ending.
“Memoirs Of The Wanderor” is loaded with sweet grooves, they also give the bass the most time to shine in this song by toning down the ante in the middle section a bit. It is a nice moment for the song to breath and the music to diversify. This song also has some of the heaviest moments by far, and really cool alternating of back and forth lead playing over the grooves. Cory also gives us a super sick solo here which starts out really like a melodic lead and progresses nicely then finishing super epic with some nice slight whammy work.

“Astral Transcendence” is an amazing track. The riffs are exciting and there are lots of excellent little leads, with a beautiful tone. Quinn’s lead in Astral Transcendence, that he brings back (thankfully) later in the song, is just out of this world. He finishes the lead and goes into an incredibly catchy solo that hits in the feels hard. The second time he brings it back with a fucking amazing solo before it the second time and goes into vocals. Literally almost brought tears to my eyes. Definitely gave me fucking goose bumps. Only 2 other solos have ever done that to me, “Jealousy” by Death, my favorite solo ever and “Dedication To A Dead Cause” by Bloodshot Dawn, my second favorite solo of all time. Where does that put this sexy piece of magic? Congrats Quinn and Tethys I’m a huge fucking fanboy now. Fan for life. Like I mean really, it is soaring and just unreal feeling! One of the most epic leads I have heard in a long damn time! This goes into a really nice singing part by Quinn when the lead finishes. Oh, the beauty isn’t over, Cory comes in after with a super catchy and triumphant solo to end the EP with super strong momentum.

Sev’s bass totally adds to the punch too. At times the guitars will be harmonizing and the bass will hold down the riff or groove. It works really well. There are great moments of this in “Etheral Cypher” and “Memoirs Of The Wanderor” for sure. The bass has some nice distinct parts in “Etheral Cypher” just after a minute and a half in the song. He has really nice bass lines during the solo section. Again near the end he stands out quite a bit with the fills. At about 1:10 in “Progenitor Of Thought” they kind of soften it up for a brief bit, it flows so well and the bass has some really cool stand out parts during this section. Again after the first clean vocal section at about 2:35 they tone it down and let the bass shine.
There are other powerful moments as well as he just has a really good tone and fits the songs completely.
“Memoirs Of The Wanderor” is definitely the most stand out Bass track for sure. The whole song he just seems more distinct, and then middle section, it is loaded with cool bass lines that keep it very captivating.

This is one of my favorite vocal performances I have ever heard without a doubt. Stevie’s tone, range, delivery and articulation / enunciation of the words is beyond phenomenal. The way he matches the syllable rhythm of his words with the riffs is so excellent and clearly very well thought out. Not only that, but these lyrics are damn awesome to boot.

We enter the music of “Etheral Cypher” with a piercing scream and then he really shows what he can do for the first few verses. Sick timing, killer range and an amazing tone! He uses some really grizzly lows at times as well. The range displayed in this song is phenomenal. I love how he matches the vocal rhythms with the riffage too.
No beating around the bush. That whole song is just so deadly. Piercing highs, ridiculous enunciation. Super badass lows and a wicked range in this song. It just sounds amazing!
In “Memoirs Of The Wanderor” he uses a lot of powerful lows with wicked high accents and some cool layering. His delivery is timed perfectly with the music, especially in the groovy sections.

Quinn also offers up some excellent and fitting cleans in “Progenitor Of Thought” and “Astral Transcendence”. His vocals sound majestic and are smooth and powerful. And IN KEY! Overall they are great, they actually really add to the enjoyment of the songs, a lot.
While Stevie has some fantastic low mid vocals that are just bursting with power. He displays an amazing and tasteful use of range and tone on this EP but the vocals in “Astral Transcendence” are extremely powerful to me. The tone is just so awesome and passionate. I can feel it. But he switches the range a good amount in that song too. Some nice highs and lower lows used when needed. This guy has serious pipes. Watch the live set linked at the bottom to see for yourself. “WE ALL RETURN TO THE STARS FROM WHICH WE CAME”. Awesome.

The drums are killer. Some absolutely face-melting kick sections. The drums through the start of the album are consistently impressive and just punishing. Sweet blasting, and also good use of thrashy beats in a more tech Death setting. Killer groove and nuts kick all over. “Progenitor Of Thought” has some fairly brief but totally insane kick parts. When he isn’t melting our faces, he’s blowing our mind with creativity. He brings them back though, and also progresses with his beats a lot! “Memoirs Of The Wanderor” also has some really sweet kick patterns being used and great fills too. The performance is constantly interesting. Also some really excellent cymbal work on the album. He always keeps the flow of the songs perfect, and generally has a very upbeat and exciting pace to his playing. When it is less upbeat, he always makes it flow right. The third song “Memoirs Of The Wanderor” and the final song, “Astral Transcendence”, starts with a synth part, written by Shea I believe. In “Astral Transcendence”, it transitions smoothly into a great, kind of Thrashy section with really nice ride parts. Then into a sick groovy section. From here he generally keeps a good momentum for the majority of the song, keeping it uplifting and interesting, while going back to a deadly groovy while the sexy lead starts.

I am so excited about this EP, this band definitely has a bright future. They have the makings to be one of the best bands in all of Death Metal. Everything about them screams top quality. Their amazing tone. Their creativity and excellent songwriting. The fact that this is one of the best vocal performances I’ve ever heard. I mean, this can’t be just me? This guy is damn unreal! This band is unreal! And super sick live based on the set I watched about 10 times lol.

“I THINK; THEREFORE I AM”

For fans of Alustrium, Bleak Flesh, Vale Of Pnath, Black Crown Initiate, Equipoise

9.9/10 \m/

 

LINKS
https://www.facebook.com/Tethysband/
https://tethys1.bandcamp.com/releases
https://www.youtube.com/channel/UCHLMHOavPIUGai1UC3lN8pw

PROGENTOR OF THOUGHT LYRIC VIDEO

FULL LIVE SET (pretty qood quality)

 

-Brett /,,/(°o°)/,,/

Visit our FACEBOOK page \m/_(><)_\m/
http://www.badgersmetalbreakdown.com

The Hallowed Catharsis – Solar Cremation E.P. 9.5/10 \m/

Hey metal lovers! Let’s get stoked about this fantastic mid-week release from British Columbia Groovy Prog Death Metallers The Hallowed Catharsis and their new concept EP Solar Cremation!

Continue reading The Hallowed Catharsis – Solar Cremation E.P. 9.5/10 \m/

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