Album Review: Slayer - Divine Intervention

 

Slayer - Divine Intervention

American Recordings - 1994

7.5/10

Everybody talks of how bad the veterans of '80s heavy metal tanked in the '90s, but if there's something I can say to contrast that, it's that I love the different directions many of the bands took, for better or for worse. Slayer is one where I have mixed feelings. Four years following their smash classic Seasons In The Abyss, they would swing in with Divine Intervention, a record that I have a love/hate relationship with. It's a game of appreciating the new ideas brought to the table while overlooking the awkwardness (and some... cringe lyrics at times).

For starters, rather than taking influence from the rising grunge and '90s rock movements like Slayer's "Big Four" counterparts , they moved towards a punkier edge. Yet, there isn't a full divorce from the cleaner thrash that Tom Araya and co. would use to lift their previous South Of Heaven and Seasons In The Abyss albums to the big leagues either. For the most part, the songs that utilize this punk momentum into a way that feels natural tend to do well, while the ones that feel unsure lack confidence or depth. Few songs here are outright bad, though.

Focusing on where the band nails it, the swift punch "Sex. Murder. Art." feels like the band literally hinted that they were about to release an album of punk covers soon. In less than two minutes, Slayer all but creates the classic Minor Threat-esque two-part kicker that doesn't feel forced with a thrash metal punch. Moreover, you have the relentless anarchy that is "Dittohead," backed by pummeling and concise drum kicks and slick breaks in the tempo. However, you'll need to look past the awful lyrics; like, really guys? The country with the highest prison population in the world needs to... imprison more people?

Others fall somewhere in the middle and can be hit or miss. Opener "Killing Fields" starts us off promising under a ballsy drum opener with Paul Bostaph being new to the group, and a solid gradual momentum buildup to a fun chorus. To the opposite end, the title track hits a bit of a doom outlet that feels fierce due to the production and Tom's horror-drenched, panicky outcries. Unfortunately, the back half of the album wanes down little by little, as "Serenity In Murder" absolutely butchers this similar idea, and the likes of "Circle of Beliefs" feels really clunky in execution despite an admittedly cool chorus. I guess I can also dig the thick energy of "213," but by this point things feel somewhat played-out and I'm ready for things to wrap up. This would have honestly made an incredible opener.

At the end of the day, Divine Intervention is a pinnacle example of a transition album, one that I often appreciate for its neat ideas despite some obvious flaws. I find myself returning to it from time to time, for nothing else than a small level of charm it contains. It's certainly not up to par with the classic run, but unfortunately they also wouldn't make anything any better ever again save for World Painted Blood almost two decades later.

Album Review: Funereal - The Misery Season

Funereal - The Misery Season

Cryonics Records - 2000

7/10

It’s very rare that I stumble upon a one-off death metal album from 2000 by a band that never stuck around. Odds are, I would not have discovered Funereal had a tape reissue not been released in 2021, but here we have it. Having roots as far back as the late ‘80s, the U.S. Illinois group still didn’t even make any noise leading up to this album’s release. The Misery Season is the only record I could unearth, but thankfully it’s pretty serviceable.

Considering the technology of the time and the band’s small following, it’s pretty amazing how well The Misery Season comes through in terms of production. You could potentially date this, as much of the riffing borrows influence from the “groove” acts that dominated the ‘90s, fitting in with the likes of Divine Empire. Admittedly, the vocals can be a bit too throaty at times, also a common feature of this time period, but the lead guitar chops make it forgivable. Plus, there’s a very heavy bottom full of audible and compelling basslines to help cushion this.

From time to time, this can definitely drag a little more than needed in the longer tunes. “Confinement” really had no business utilizing the repetition in the beginning that it did, but thankfully once it gets going, things fold into a nice doomy rhythm. I’m not sure that I’d go as far as labeling Funereal with the doom/death tag, but the nods toward that direction are very clear. I personally prefer the tracks that follow a recognizable direct path, though. “Darkness Arise” has some tasty rhythms for sure, and I can’t overlook the neat chops in closer “Life Of Anguished.” Perhaps this isn’t anything too mind blowing, but if nothing else I can see it being a slight step towards the harcore-induced death metal that would blow up within a decade or so.

EP Review: Resilient - The Art Of Resilience

Resilient - The Art Of Resilience

Chaos And Hell Productions - 2021

8/10

Resilient are a recent death metal act that have only had one release and some singles, two being in the year of 2021 when they formed. Based in Santiago, the Chileans cook up a quick and crisp version of the style, and the two-color purple cassette kind of reeled me in alone a while back. The Art Of Resilience is the name of their second release, being an EP that extends on what we got earlier that year. It’s a ride that passes through pretty quickly, since it’s just four tracks and two instrumentals.

The “Intro (Origin)” opener is a soft acoustic lead that takes us to “The Dark Room,” a neat little tune showcasing the band’s ability to carve this sound out of rather steady rhythms, airing on the more accessible side of the genre. The following “Vomiting Blood” lets on some blitzing drum blasts and faster acceleration for a taste of contrast, both fitting nicely under the flattering solos. I personally think the production boosts the solos, having a primitive fuzz atop otherwise concise and clear leads. “Black Clouds” (the previously released single) and closer “Searching For Balance” are tied together nicely with the eerie, bass passage “Interlude (Climax),” ending on a fluid note that mostly sees the same composure as the first half. Some of these songs teeter on a little longer than they really needed to, particularly in the back end, but the whole EP is still pretty easy to take in.

The Art Of Resilience is a solid sampling of something that would make a solid full-length if the songs are chopped up a little more with some additional track distribution. Nothing new or groundbreaking is to be found, but I’m still glad I scooped this tape. For newer bands under the OSDM influences, it’s most similar to the likes of their Chilean brothers Invocation, and perhaps some Oath Of Cruelty.

Album Review: Negative Vortex - Tomb Absolute

Negative Vortex - Tomb Absolute

Sentient Ruin Laboratories - 2023

6.5/10

Negative Vortex are a death metal act that sprang up in the U.S. nearly a decade ago, first making an appearance with an EP before hibernating until now. The doom-cladded outfit would spend many years cooking up what would become a first full-length in the form of Tomb Absolute. It certainly cements everything that was hinted at back in the mid 2010s, taking that format to a higher scope. Well that, and treating this with all kinds of production help.

Because of this, Negative Vortex curates what I call a very huge sound in a sense that pulls forth blistering drum blasts that are as in-your-face as the mega-saturated guitar riffing. Beside that are a helping of vocals that come up just as high, presented with a gurgling growl that manages to take any overly-filthy edges off thanks to such a clear production. Under this wide umbrella falls a combination of song structures that move from explosive, unrelenting speeds with all of this in the foreground to the earlier architecture of slow, rumbling doom/death. The two work together better than I would have pictured, mostly because of the tremolos and wailing leads that mesh both together, and I can’t pretend the bass doesn’t help out. “Cicuta” really masters that technique in the song’s outing.

As great as all of this sounds, unfortunately such strong feats are presented in a way that’s very overwhelming just due to the fact that none of these parts really get to shine in their own right, and feel like they’re constantly competing. Moreover, the aforementioned gurgly vocal style doesn’t mesh well with such a clean production. In fact, said production is probably part of why this can feel like so much at once, and the fifty-four minute runtime really doesn’t assist in that realm. In other words, the parts themselves are masterful, but the presentation of them together leave not more to be desired, but honestly, less.

Tomb Absolute is definitely a worthwhile enough spin to check out for those that like the bigger sounds of the death metal genre, especially if a side of doom is desired. Clearly a lot of time went into this, and every band member knows their trade very well. They would benefit, however, from trading-off the forefront and toning down the studio-aided gradient. Cutting back a few tracks could do wonders, as well. At the end of the day, the songs move through with some serious potential, and nothing stands out as what I’d call bad. Much of this is personal preference, and I’d still suggest seeing for yourself.

Album Review: Enforcer - Zenith

Enforcer - Zenith

Nuclear Blast - 2019

9/10

A heavy disclaimer, I’m breaking my typical reviewing character for this one.

What! Are you telling me that Enforcer opted not to make a fourth album in a row of the exact same format they’ve been doing? What do you mean that the hints dropped in From Beyond consisting of cooler songs and a focus away from speed metal would be realized entirely on the next album? Absolutely bizarre! Introducing glammier elements as well as typical Europower epicness that has been slowly revealing itself for two albums could never stain my speed metal! But oh, I’m afraid, these characteristics will be quite operational, when your metal dweeb friends arrive! A shame, because that absolutely wouldn’t have been totally boring and predictable or anything. Do you think, maybe, you can only do so much with speed metal before needing to shed your skin into a different style?

Seriously, though; it’s been four years since the release of Zenith, and I’m still in absolute shock over its reception. This is not a record that I went into thinking that I would be the only person that defends it. It would be one thing if it was nothing but by-the-numbers Bon Jovi clones, Kiss knockoffs, or Ratt regurgitation (as much as I love all of those bands, it wouldn’t fit). But are you fucking kidding me? Enforcer’s fifth effort is an elaboration on the epic buildups and calmer construction that made itself known on its predecessor, and it’s truly a tremendous leap forward in this thing we call musical evolution. Not heavy? Not powerful? No, I’m sorry, that’s objectively incorrect. There’s one (1) whole ballad, and a movement away from speed metal as the main ingredient. I didn’t realize that something had to be speed metal to be heavy, powerful, or impactful.

The fifth installment by the Swedish powerhouse is full of life, solos, refreshing ideas, and emotion that just realizes itself in a different form. “Zenith Of The Black Sun” really couldn’t paint this picture any better. Is it slower for a hot minute? Oh yeah. Then guess what, it morphs from slow suspense into several layers of soloing and riffing under a colorful gradient, played at (wait for it) faster speeds! Look also to “Forever We Worship The Dark,” a tune that sprinkles the same suspenseful influence but instead relies on a gang-chant chorus and a powerful lead-melody bridge to deliver the payload, rather than a blitzing riff that everyone will choose to conveniently ignore. Even “One Thousand Years Of Darkness” knocks this out of the park, channeling in a power metal oriented derivative, crammed into a straightforward template that helps complement the epic nature of the other two songs I just mentioned.

My theory is that two single songs are what gave everyone this false idea that Zenith sounds anything remotely close to Def Leppard. For one, the intro in opener “Die For The Devil,” a whole 2 seconds of the album, certainly could make a case for this. Otherwise, this is an emotion-heavy tune that just relies on a catchy chorus (like they did plenty of on every other fucking album), except it does by that better by utilizing harmonics and melancholy in the verses. “Regrets” is our single ballad, the other thing that likely gave this record its reputation, but even then, Enforcer haven’t tampered with soft piano as the entire foundation yet. Not only is this well written, but it compliments Olaf’s vocals, and fits the general flow of the disc.

What we’re left with is the emulsion that blends these new ideas together. “The End Of A Universe” is a steady, cleaner tune that has a darker tint to balance things nicely, while “Searching For You” is a full-force speed metal tune. Damn, it’s a shame they didn’t just write nine more of these, isn’t it. Actually, it’s a great spike placed wonderfully to contrast the soft song that follows, reminding us of where the band came from in a smooth manner; not making us yearn for what was already done. “Thunder And Hell” does basically the same thing with a little more elaboration, and closer “Ode To Death” touches base with the established epic nature that weaves in and out of this whole record. I guess the intro could classify it as a half-ballad (God forbid), but it works very well for what it is. My literal only complaint involves “Sail On,” mostly because the chorus misses the point of repetition’s usefulness, and feels far too much like an obvious filler. But even this is a minor issue, and I can overlook it due to the keys-meet-guitar rhythm build.

I don’t really know how to wrap this up other than by saying if you haven’t given this a chance in years, maybe try listening again in a vacuum without the clouded stink of annoying expectations. If you're new to the band, this should sound anything but abnormal for a heavy metal release, and you should proceed as usual. This record is as great as Death By Fire and a step below Diamonds, it’s just, ya know, a little different. It’s full of strong choruses, heavy build-ups and galloping riffs. There’s a lot of emotion, harmonies, and layers that anybody could have predicted. It’s not a by-the-numbers glam metal throwback (which I probably would have dug to some degree anyway); this is an honest evolution of a speed metal band’s growth into something that I return to as often as the earlier albums, if not more. My days of being accused of being a contrarian are mostly behind me, and I can usually admit my biases these days, but not here. It’s everyone else that’s wrong, not me.

Album Review: Enforcer - From Beyond

Enforcer - From Beyond

Nuclear Blast - 2015

8.5/10

Maintaining the pattern of dropping a full-length every few years, Olof and co. continued towards their newer found recognition in the higher ranks rather quickly. Without dropping so much as a split or a single, Enforcer followed up what’s been a perfect formula for two albums with From Beyond, a third stab at the speed-meets-traditional metal with some extra taste structure, for their fourth record overall. I guess as the saying goes, if it isn’t broken, don’t fix it, right?

That does hold some merit, at least for a while. All things considered, From Beyond is a structurally sound release that continues with catchy hooks, melodic leads, crystal clean vocals, and a solid blend of rage and steadiness. As with many a death metal effort, doing what you’ve done well over again can yield some sturdy tunes, as long as it's channeled correctly, holding some sort of memorable variation. I’m pleased to say that is the case here, as several muscular impressions are made. “Undying Evil” is where my mind first wanders, holding some of the clearest yet fiercest vibes not only in the vocals, but in the minor-toned solo and bridge. The pattern of instrumental tunes being stuck in the center doesn’t go away, and I think “Hungry They Will Come” is one of the best ones, fitting the general vibe of the whole record nicely. Its calmer approach meeting adventurous tones and slightly unsettling, heavy progressions complement each other so nicely.

On the other hand, there is an ever-so-slight hint at moving towards a sound that favors the melody and anthemic build over the speed, which has been pretty balanced thus far. A fair amount of fast rippers still exist, such as “Hell Will Follow,” or the opening “Destroyer;” I’d probably even assign this description to the aforementioned “Undying Evil.” But the mellow nature of the title track, and the epic-cladded forays towards a calmer bunker shown on “Below The Slumber” reveal that more interest was invested into cool and concise stock. The title track has to be another favorite of mine, as they master building a repetitive chorus that works all the emotional feels, much of it owing to the sugary flavor. Hell, even the solo in this one is rather masterful, ascending in a very welcoming way. This isn’t really the dominant mode of production (yet), but it shows itself noticeably more clearly than before.

Ultimately, these cooler ingredients are what allow Enforcer to cook up the same formula a third time around without any signs of it going stale. I’ll admit, it definitely feels like it could be a transitional record. The back half (everything after “Hungry They Will Come”) is weak in comparison to the first half, boasting a flame slightly less hot than the two predecessors overall, but there’s still very little to complain about. Regardless, the sweeter tastes that fill in the speedy cracks make up my favorite parts of the record.

Album Review: Kommand - Terrorscape

Kommand - Terrorscape

Maggot Stomp - 2020

7/10

Before we got the refreshing death metal release known as Death Age, the U.S. outfit Kommand had another short blast of war and carnage, also composed of six tracks that didn't reach the thirty-minute mark. Titled Terrorscape, it’s a far more raw, rough, and overall discomforting dose of the style, aiming for a nastier sensation. Much noise gets through the proverbial strainer, giving the already chunky riffs even more bite. If that’s not enough, there’s a grindy hint tacked to the sides, pairing well with the hornet-buzzing guitar tones.

In other words, this very much captures the feeling that the grainy artwork displays, casting everything that could musically make one think of war, death, and massacre out in a menacing way. Vocally, it sounds furious in every corner, leaving little room for rhythmic standout. “Siege” definitely gives the most of this, and a lot of the best parts are when an isolated riff leads the direction of a song. This is even achieved with the bass at times, seen in “Archibloodago,” but for the most part, this is meant to work as an all-at-once experience of misery.

So it shouldn’t really be surprising that Terrorscape offers little in the realm of precision. For the most part, I would recommend submerging yourself in this for the easily achieved sole purpose of conveying torturous existence through nasty growls, crushing riffs, and a musty atmosphere all at once. Looking for anything else would be rendered futile, but for what Kommand was trying to do, I can appreciate it.