Immolation - Kingdom of Conspiracy

Aside from Bolt Thrower, there appears to be no death metal band that is more devoid of criticism than the mighty Immolation. And that is completely appropriate. For over 20 years, the band has delivered consistently brutal records that are as heavy as they are strange. “Kingdom of Conspiracy” marks the ninth full-length record for the band, and is the logical continuation of the band’s sound.

“Kingdom of Conspiracy” has all of the hallmarks that put Immolation on the map. The bizarre, dissonant riffing of Robert Vigna is featured throughout every song, while Ross Dolan’s guttural, inhuman vocals decry society and religion. Throughout all of this intensity is the technical, rhythm-intensive drumming. While the drumming on every Immolation record is great, it is even more evident on “Kingdom of Conspiracy”. The sheer mechanical accuracy of Steve Shalaty’s footwork is impressive, and he effortlessly blasts his way through the record. Perhaps the reason for this performance standing out is not because it is any different from Immolation’s previous work, but because the drums are loud in the mix. In fact, it is the most prominent instrument on the record; however, it is worth mentioning that all claims of the drums ruining the record are severely exaggerated. Yes, they definitely would benefit from being a bit quieter, but they are nevertheless still impressive and enjoyable. One part of “Kingdom of Conspiracy” that is actually different from prior records is in the use of guitar solos. They were always Slayer-inspired (as well as filtered through Vigna's strange sense of melody), and showed up fairly often, but never to the extent they do on this record. It seems as though ominous leads and solos appear constantly, almost to the point where if Dolan isn’t screaming, you can expect to hear one of Vigna’s great leads.

In addition to providing satisfyingly brutal tunes, Immolation has also crafted some memorable parts. The beginning of closing track “All That Awaits Us” is reminiscent of “Close to a World Below”, which actually helps it stand out. The title track is another highlight, as is the powerful “Indoctrinate”. With that said, it does no justice to these songs to call them heavy, powerful, or brutal; they are simply death metal as done by Immolation, which is an experience so great that you really need to hear it to believe it. If you are familiar with the band already, expect nothing more than an enjoyable addition to their legacy.

Be sure to check out and like Immolation on Facebook!

Highlights

"Kingdom of Conspiracy"

"Indoctrinate"

"All That Awaits Us"

Final Rating

4.0/5 or 80%. 

Written by Scott 

Ghost - Infestissumam

Since releasing their debut album “Opus Eponymous” in 2010 there has been no bigger hype band than Ghost. Maybe it was because they were on a tour with Mastodon and Opeth (who, for some reason, are two of the biggest metal bands today), because they never revealed their identities, or because of their strange brand of occult rock. Regardless of how they got popular, the good news is that their debut was an enjoyable record. It definitely had quite a few metal leanings, and could probably best be described as Mercyful Fate meets Blue Oyster Cult. With “Infestissumam”, Ghost continues that trend, but definitely sound like a band that has bought into their own hype.

The second the record opens, you are hit with the sound of huge, ancient choirs. This is nothing new for Ghost, and it actually builds into something quite atmospheric in the intro; however, it would later be used again on other tracks to the record’s detriment. The choirs definitely fit Ghost’s image, but they really aren’t necessary beyond the great intro. Luckily, the first full song opens with one of Ghost’s hardest hitting riffs, before the guitars give way to Papa Emeritus’ ghastly vocals. In general, the songs on “Infestissumam” aren’t that different from the debut; there are hard rocking songs (“Per Aspera Ad Inferi”), as well as more simplistic tunes (“Body and Blood”). Where this record sometimes gets off track is in its use of strange melodies. For example, the single, “Secular Haze”, has a carnival feel to it, which is unnecessary and takes away from the rest of the song (it does however, have some great bass guitar work). Likewise, “Year Zero” has some moments that make you think that this band could really be doing something better. This is what I mean when I say they’ve bought into their own hype; they are emphasizing new and weird elements to the band in order to push their image into more mainstream territory. Granted, it seems to have worked, but the average metal fan is likely to be able to handle the strange combination of Ghost’s music and their aesthetic. Getting back to the music, the highlight is definitely “Jigolo Har Megiddo”, which has a stomping rhythm to it. The interplay of drums and guitars almost sounds like disco meets swing. It’s got a four-on-the-floor feel, but still has a jumpy, unrestrained character. The more experimental “Ghuleh / Zombie Queen” has its moments as well, but is more likely to be a grower.  The remainder of the songs don’t stand out, but that works to Ghost’s favour as they’re simply enjoyable occult rock tunes.

“Infestissumam” is likely to be a conflicting record. Had the band stayed a bit more consistent and less experimental, I would certainly enjoy it more. With that said, they didn’t simply rehash their previous record. While I’m afraid of their likely future downfall, Ghost have created an enjoyable, albeit flawed follow-up.

Be sure to check out and like Ghost on Facebook!

Highlights

"Per Aspera Ad Inferi"

"Jigolo Har Megiddo"

"Body and Blood"

Final Rating

3.9/5 or 78%. 

Written by Scott 

Besieged - Victims Beyond All Help

Shortly after death metal first arrived on the scene in the late 80’s and early 90’s, something very strange happened to thrash. A select number of bands set out to prove that thrash was, and will always be the most brutal genre of metal. As far as I’m concerned, Demolition Hammer and Solstice (US) among others have set the bar for sheer intensity. Both bands literally sound like they have a hammer in hand ready to fracture your skull. Many of the thrash bands of recent years have abandoned this approach, but luckily, Unspeakable Axe Record’s newest band, Besieged, are here to continue making this great style of thrash!

Over the course of 31 minutes, the speed on “Victims Beyond All Help” rarely lets up. The breakneck tempos are emphasized by the relentless punk drum beats and shouting vocals. Vocalist Nolan Smit sounds like he is tearing apart his vocal chords as he barks an insane amount of words at you. While he is doing this, he is also playing some of the fastest riffs in existence, alternating between tremolo-picking riffs, and more traditional thrash riffs. Perhaps even more impressive is the vicious drumming. As mentioned, it is the punk/thrash beats that are in use here, meaning that blastbeats are not a constant. Even the double bass is used pretty sparingly for a modern thrash record. It isn’t so much the type of drumming that makes the rhythm work intense, but rather, the sheer speed and ferocity of it. There are only 7 songs on “Victims Beyond All Help”, but they go by in a blur. Seriously, when this album finishes, you are left thinking: "what just happened?"; however, with erratic solos and endless riffage, there is always something going on to keep your attention. With that said, it does make it a bit hard to follow along sometimes, but that just means it takes a few more listens to really understand the song structures. Even at the moment, I can’t confess to knowing exactly what’s going on throughout this record; I just know that it is a rhythm attack unlike no other at the moment.

Besieged have done something that few, if any, of their peers have managed: to create a record so brutal that it is on par with Demolition Hammer. I always considered Laceration (US) to have been the closest anybody has come in recent years, but Besieged have managed to surpass them in sheer ripping thrash madness!

Be sure to check out and like Besieged on Facebook!

Highlights

"Internal Suffering"

"Death"

Final Rating

4.3/5 or 86%. 

Written by Scott 

Beyond Creation - The Aura

Technical death metal tends to be quite predictable these days. Ever since the invasion of Brain Drill, there has been an endless stream of bands that are obsessed with figuring out how many times they can sweep pick in a 4-minute song. While I enjoyed the initial hilarity of Brain Drill at first, it made the rest of the genre hard to listen to. Luckily, there are some bands that manage to take the best elements of modern technical death metal and mix it with their own style. This is where Beyond Creation fits in. While they definitely play standard modern tech-death, they understand how not to overdo the technical elements.

Consistently throughout this record, you’ll be hit with the staples of the genre: blasting drums, shredding guitars, loud but enjoyable bass, and plenty of tremolo picking. As mentioned, however, Beyond Creation does a few things to differentiate themselves from the crowd. Songs like “Coexistence” feature lengthy clean sections (not unlike Obscura sometimes does). The band also does time signature changes seamlessly. Some bands can make these sections feel awkward, but on “The Aura”, you never really notice they are there (in fact, I’m just assuming they are; everything sounds normal to me, but this is a tech-death record, so they've got to be there). In addition, the drums do more than simply blast. They often switch between heavy double-bass sections and blasting, while using snares or toms for accents on what the guitars are playing. The drumming is a very important element to help break the monotony, but the guitars also work to eliminate this issue. Although there are leads almost constantly, they aren’t leads just to show off. There is always a discernable melody to the leads. My favourite of these comes at the halfway mark in “Omnipresent Perception”, but in general, these leads are far too numerous to actually remember most of them. This brings me to my only issue with this record: it’s still a tech-death album. At 52 minutes, it’s difficult to really remember much of this album. Even if you put aside memorability, it’s a lot to digest in one sitting. There’s no doubt that Beyond Creation do this style much better than most of their contemporaries, but what happened to writing songs that were simple structurally, but technical from an instrumental perspective? “Individual Thought Patterns” and “Unquestionable Presence” are my main points of reference here; both of those albums are insanely technical, yet are completely memorable throughout.

For fans of the genre, I know this is going to be a favourite. It does everything well, and it is even accessible as someone who isn’t a fantatic of the style. If I go for modern tech-death, you can bet that I’ll be reaching for this record. It is impressive that a band’s first record can so accurately capture all of the high points of a genre. “The Aura” is sure to be a record that people will be talking about for years!

 Be sure to check out and like Beyond Creation on Facebook!

Highlights

"Coexistence"

"Omnipresent Perception"

Final Rating

4.0/5 or 80%. 

Written by Scott 

10 Forgotten Gems of the Last 10 Years:

Every year there are seemingly endless releases, and no matter how hard you try, you won’t get to them all. Eventually, it’s pretty easy to get around to the bigger albums, but some records get completely forgotten. Even if an artist is well-known, sometimes people assume they know what the album will sound like without listening to it. What follows are 10 great releases from the past 10 years. These are not necessarily the best releases of those years, but they are ones that your metal collection is incomplete without.

2003: Isen Torr - Mighty & Superior

This two track EP is the very definition of heavy metal. It features some of the most manly riffs in existence, and the fantastic vocals of the late Tony Taylor only add to the sheer masculinity of this release. While both songs are quite similar (especially the use of triplets in the drumming), they are both epic enough that it doesn't matter. If you have some time, read up on the history of this cult band, as they originally had some interesting plans for future releases.

2004 - Insane - Wait and Pray

Do you like Slayer (hint: the answer is yes!)? Then you will love Insane's "Wait and Pray". This isn't even a rip-off of "Show No Mercy"; it is straight-up worship. Everything from the band logo, album artwork, song titles, and sound of the record is straight from Slayer's debut record. There has never been an album that accurately captures the sound of another as well as "Wait and Pray" does. While the songwriting is obviously not as good, it is a lot stronger than you would probably expect.

2005 - Dark Illusion - Beyond The Shadows

This one is for the power metal fans. "Beyond The Shadows" is an ode to simplistic, enjoyable European melodic power metal. Similar to bands like HammerFall and Helloween, it is very riff-based, as opposed to the airy sounds of a band like Stratovarius. At 14 songs (but only 49 minutes), there are sure to be at least a few that catch your attention. Personally, the hilariously titled "Night Knight" and the ballad "Warrior" are amongst my favourite power metal tunes.

2006 - Angelus Apatrida - Evil Unleashed

Angelus Apatrida are definitely a band that have garnered more attention recently, but their humble beginnings are less known. "Evil Unleashed" is exactly what you would expect from Pantera if they played thrash 100% of the time. It even has a cover of "Domination"! The rhythm work (particularly the drums) is crushing, and there is an endless number of guitar solos. This record has a ton of standout tracks, but my favourite is "Negotiating The Clowns" simply for its stellar lead guitar work.

2007 - Iron Fire - Blade of Triumph

Iron Fire is another band that is certainly not unknown, but "Blade of Triumph" does not get recognized as the power metal masterpiece that it is. The songs are frighteningly catchy, starting with "Dragonheart" all the way to the title track. While this is another record that has solid riffing, it also uses plenty of guitar melodies to lead the songs. I haven't really kept up with the rest of the band's discography, but if you think you've heard all power metal has to offer, and haven't heard "Blade of Triumph", give this a shot.

2008 - Mortifier - Underground Noise

This is where things get really tough. Starting in 2008, bands started popping up out of nowhere and there are a crazy number of good releases. I picked Mortifier's "Underground Noise" because it's exactly the type of album I could never review. Yes, it is another thrash band that conveniently put out a record in 2008, but it's much more. The main reason I couldn't do a full review for this band is because the only thing that need's to be said is that they write far better riffs than most of their contemporaries. That's all there is to it. Nothing else is done that is outside of the box; you really just need to hear these solid riffs. Check out "Mountain Killings" for a sample of what I'm talking about.

2009 - Metalium - Chapter VIII: Grounded

The final album for Germany's Metalium would prove to be their best. Gone are the mostly speedy, yet characterless songs, and in are the pounding, powerful riffs of Metalium's later era. The attitude hits you from the opener, "Heavy Metal" and never truly lets up. If you've heard some of Metalium before, but haven't heard this power metal record, you should give this a shot.

Honourable Mention for 2009: Mutant - Laserdrome (thrash)

2010 - Instanzia - Ghosts

Hailing from the Great White North, Instanzia are a definite force to be reckoned with. "Ghosts" reminds me a lot of Wintersun in the sense that it was created by a perfectionist. There are layers upon layers of vocals and guitar melodies. Musically, however, the band sounds more like any number of Finnish or Swedish power metal bands. Each song features uniquely crafted melodies that are instantly memorable. I've pretty much only listened to this thing on YouTube (haven't tracked down a copy yet) and I can think of most of the choruses without re-listening to them. My favourites are "Ghosts of the Past" and "Power of the Mind", but any of these songs should hook you.


Honourable Mentions for 2010: Hellcannon - Infected With Violence (thrash), Icewind - Again Came the Storm (power metal)

2011 - Rocka Rollas - The War of Steel Has Begun

You may know Rocka Rollas from my review of "Conquer", but their debut album is a whole different beast. Rather than being the continuation of Running Wild, "The War of Steel Has Begun" is simply an ode to speed metal, and really just metal in particular. Expect blazing tempos, wickedly fast harmonized guitars (see "Dark Future" for a mindblowing example of this), and energetic vocals. While I prefer the new direction the band has taken, their debut needs to be heard because it is sure to be a cult classic.

Honourable Mentions for 2011: Glen Drover - Metalusion (shred), Power Quest - Blood Alliance (power metal)

2012 - Air Raid - Night of the Axe

Sweden's Air Raid join the legion of bands playing a classic style of heavy/speed metal, and they do it with more conviction than most. If you are a fan of other SFM favourites such as Enforcer and Screamer, you'll know what to expect. Air Raid's vocals differ from the crowd quite a bit, but that only helps them to stand out. The two most enjoyable songs are the title track, and "The Lost City", but there are no weak spots on this rager!