Album Review: Transilvania - Of Sleep And Death

Transilvania - Of Sleep And Death

Invictus Productions - 2021

9/10

Austria's Transilvania has made a bit of a career out of crafting a more unique form of blackened thrash metal, though I may argue that the reason why it's unique is that they deviate pretty far from that tag. While we can certainly discuss traces of it, the more straightforward formula in the outfit's earlier years came to transcend the norm in more ways than just dealing in medieval imagery in place of Satanic debauchery. No, I'm of the belief that Of Sleep And Death deals cards in the vein of its name, falling closer to the blackened death metal realm above all else. This is also probably what really helped sell me on them.

For starters, Transilvania have always somewhat shied away from melody save for a hint of it here and there, favoring rhythms rooted in explosive expression and a furious drive that matches the relentless, blackened vocals. Perhaps one could say the execution feels on the cleaner side, but a rough gradient still manages to dull the blade of our proverbial chops, allowing much of this to sink deeper into full-on black metal territory from time to time. What impresses me more than anything may be the band's ability to quickly shift from a slower, more intricate lick into blasting percussion and tremolos that crawl all over the fret-board. But remember kids, utilizing catchy playing tactics in extreme metal doesn't automatically make it feel thrashy.

What does make it feel thrashy is that punk-oriented attitude that catches the occasional speed metal riff, which you can find from time to time as well. The bridge and following solo on the title track is a fine example of this, though as clear as it is, things get equally muddy surrounding it, complimented by explosive drumming and breakneck tremolos. Bits like this also exist in some of the shorter numbers, namely the end of "Mortpetten," but even much of this resides closer to the impression landed on opener "Opus Morbi"; longer, elaborate numbers where crushing shrieks meet a tough black/death aesthetic. "Heart Harvest" may be my favorite example due to its early Bathory nods, and the cleaner sweeps in "Vault Of Evening" really scratch a nice itch. When a nearly fifty minute record of this type sports zero misses, you know you're in good hands.

Regardless of what you want to call it, what matters is that Of Sleep And Death is an extremely competent, compact slammer of a record that immerses you in a crushing medieval front. The band offers a little bit of all our favorite extreme genres, some more than others. Instinct would tell one to compare it to Hellripper, Witchery or Bastardizer, but I'd sooner compare this to Craven Idol, Proscription, or Necrophobic. If anything of that sort sounds appealing, give these Austrian's your attention.

Album Review: Black Death - Black Death

Black Death - Black Death

Auburn Records - 1984

7.5/10

Right at the medium of glam metal's separation from what was simply a sleazier version of our beloved genre of heavy metal, many would begin falling into one camp or another. Cleveland's Black Death capitalized on this factor with a fun play on words just after the NWOBHM movement had exploded, taking obvious influence from it in a way that almost feels too on the nose. Somehow, the borderline try-hard energy results in something more charming than is deserved, realized in the form of only one album simply titled Black Death in 1984. Despite its format, it almost feels like a long form demo of throwing riffs at a wall and hoping they stick.

For starters, the quality of this is as rough and raw as you'd think, covering their otherwise melodic leads with choppy solos and a rumbling overcast that feels like it came out of your high school best friend's basement. Under such a veneer is a variety of different writing tactics, likely only being held together decently because of said rough production. Very quickly will things move from an explosive riff sandwich coated in coarse vocals, to one utilizing falsettos and a slower crawl to bake in a bit more melody. Similarly, we aren't devoid of softer moments that almost reach balladry, only working with the rest because of the production maintaining the same energy.

The other thing that lets Black Death work nicely is how little it takes itself seriously, allowing some tolerance for the fact that the playing is great but the songs aren't. So much ability is showcased for sure, like the drumming expertise on "The Hunger," the bass frenzy and ear for melody on "When Tears Run Red," or the raging kicks behind "The Scream Of The Iron Messiah," that last one being my favorite. Yet, I would struggle to call any of these super coherent or perhaps even complete; again, things feel more like a demo of ideas put onto a disc than a complete thought. They may as well have included the two bonus tracks as the actual album too.

Returning to that factor of how on the nose everything is, I think the differences in approach are so traceable it's almost funny. The aforementioned "When Tears Run Red" may as well be a cover of Iron Maiden's "Remember Tomorrow" with how much it mirrors the chord progressions, bass layout, and vocal style. In the same breath, you'll snag what seems like a Motorhead rip for "Scream Of The Iron Messiah" though perhaps more intricate than what they do, and "Streetwalker" is like if Lemmy sang a song on Def Leppard's On Through The Night (take your pick). All over the place there's obvious nods to Venom, honing in some early black metal vibes, especially in opener "Night Of The Living Death."

With all of this hokiness, Black Death save themselves by the sheer lack of seriousness, the lo-fi cadence, and overly corny subject matter that injects so much charm. Listening to this feels like being nineteen again, jamming metal with some pimple-faced bros accompanied by beers you snuck from your dad's fridge after he left for the night shift. It's unsure if it wants to be NWOBHM, first wave black metal, or sleazy pre-glam, being an easy contender for the made-up term I'll again call "VHS metal." Some quick reading shows a decent cult following, and I'm sure someone's bound to sneer at my critiques, but as for me, it comes down to some fun ammeture listening that isn't great but I still come back to from time to time.

Album Review: Sadistic Force - Aces Wild

Sadistic Force - Aces Wild

Mercenary Press - 2021

8/10

In the seemingly bottomless pit of blackened thrash sees another one that's been picking up steam lately. Texas's Sadistic Force have only been around since the infamous pandemic, but their output has stayed consistent since. Sometimes it's fun to go back to the start, which is where they came across my radar with the debut album. Titled Aces Wild, it's a brief and digestible spin that strikes a chord quickly and makes its exit.

And I wouldn't want it to be any other way, as Sadistic Force are about as straightforward as it gets on their first full-length. Avoiding any bells and whistles, things take a raw and stripped-down approach that works in the black 'n roll vein, if you will, emphasizing groovy rhythms and simplistic leads meant to quench a basic thirst. Of course, breakneck speeds play an essential role, not often deriving from that save for a few exceptions that allow a little breakup. Topping it all off is a vocal style that has a nastier snarl that's almost too harsh for the more accessible riffing, but if nothing else that keeps things slightly interesting.

Like you'd expect, much of this isn't a listen you go to for standout moments. "Cavern Of The Wraith" early on is a solid tune with its calmer build and striking fret-chops to break away from the speedy foundation some; the solo near the end is pretty exceptional. Closer "Snowblind In Texas" is all sorts of fun as a repurposed W.A.S.P. cover, and the title track has some pretty insane drumming breaks that border on discomfort. Again, nothing overly innovative here, but done well for its craft.

In other words, Aces Wild does exactly what you'd expect, and if it's exactly what you want, it's exactly what you'll need. It even has that Motorhead vibe of gambling and drinking whiskey while heavy tones fill the air. The slim runtime certainly helps its consumption, and any fan of the style should lend it a listen. 

Demo Review: Rotheads - Unfazed By Death

Rotheads - Unfazed By Death

Self-Released - 2016

8.5/10

Despite having about a decade's worth of experience and two full-length records under their belt, it wasn't those that brought the Romanian death metal outfit Rotheads to my attention. Due to an upcoming rerelease via Memento Mori, the first demo was actually what sold me. Titled Unfazed By Death, this first strike is indeed quite deadly, as it lays down their shtick in a very competent way with all the facets I love about the uglier side of the genre. Frankly, you could have told me this was the debut album and I'd have believed you.

Format aside, Rotheads make's their statement quite swiftly in the confines of only five songs plus an intro and outro. Thus, it's no surprise that this grimy grid is easy enough to strap to for a compelling ride. Deep gutturals pressed firmly into the foundation match drumwork that's almost muffled by the thick atmosphere, while the guitars swim above-ground to carry much of the momentum via muscly rhythms. Brighter leads assist wonderfully when we get a break from the growling essence of the vocals, almost giving the latter a backseat role in everything. It's one of those areas where if the vocals were bad, I could give it a pass due to the strength in the music, but the vocals instead being a nice muddy touch is simply a bonus.

In the half-hour run, Unfazed By Death manages to do a decent amount. Some songs take the speedier rumble to exciting heights that still retain a catchy angle, done wonderfully in "Dark War" and "Burden Of Sin." Others work in slightly longer intervals, utilizing bass and gradual slowdowns like "Stench Of Death," one that reeks of its title but is still masterful with its solo leading to a slower outro. The title track similarly handles that energy well keeping the catchy riffs on par, a word I could surprisingly use to describe most of this. The only exception may be "Warding Blood" with its longer stretch of intricacy, sinking deeper into the muck at the expense of accessibility, but really, we get far more of the latter than one would expect with this style of death metal.

Regardless, the Bucharest quartet have managed to not only come out hard with such a firm grip and interesting ideas, but they all fit beautifully into the confines of this short and filthy demo. One of my favorite things is when a band can pull off the uglier aura without dropping too deep into "doom/death" territory or overdoing the gore factor, both of which have been steered clear enough. No shade towards the full-lengths, but at the expense of sounding like one of those guys, the demo is my favorite! Fans of Undeath, Phobophilic, and Ghoulgotha should appreciate this.

Album Review: GraveHammer - Necrotized Mortal

Gravehammer - Necrotized Mortal
Necrolatry Records - 2024

6.5/10

A few years ago, the Malaysian death metallers GraveHammer snagged my attention with their Voices From The Grave EP, presenting a sound quite grating and hoarse. For its short run, it made for a strong sandblast of grit and grime, however last year they came through with a full-length that somehow missed my radar. Necrotized Mortal is the name, fitting quite well for the sound, as this earsplitting sensation was extended to the new format. In other words, the nasty and grating finish that’s covered in burred shards stays quite apparent.

In fact, I’d go as far as saying that there’s zero step-up in production, which could help or hurt depending on what one seeks. On one hand this gives GraveHammer the ability to stand apart from their peers, opting for a blend of the Swedish buzz in the riffs coated in lots of rust. It fits even more that the vocals come through with such a scratchy snarl that border on blackened shriek, even further stomping on the listener while they're already down. Managing to maintain some semblance of rhythm amidst all of this is certainly worth acknowledging, let alone solos still appearing from time to time.

However, I would be lying if I said it really made for a great listening experience. While competent and different, the proverbial unbreathable air can almost be so tough to take in that it's distracting from the music itself. There's also not a lot of standout in the actual songwriting either, so even if things were just a tad easier to digest, I wouldn't have much (if anything) to highlight. The short runtime of seven tracks in thirty minutes plus a Bathory cover certainly allows some forgiveness where this is concerned, but note the word "some."

When I listened to the EP a few years back, I somewhat predicted that this delivery would only work well for a short blast of songs, and it seems like I was correct. Necrotized Mortal does precisely what it sets out to do, and does indeed capitalize on what the Southeast Asian outfit had laid out prior, but it may just not be for me. Those seeking out an unlovable set of horrid riffs with rusty vocals and a musty atmosphere should look no further. Those seeking compelling songwriting or replay value may want to continue their search elsewhere.

Album Review: Phobophilic - Enveloping Absurdity

Phobophilic - Enveloping Absurdity

Prosthetic Records - 2022

9.5/10

As I approach the day that I will get to see North Dakota's Phobophilic live, their one and only full-length has been a heavy part of my recent rotation. In their near decade of existence, they've made a small name for themselves with demos and EPs, before said album realized the greater picture in the form of one of my favorite styles of death metal. Enveloping Absurdity is as meek and malicious as its album art suggests, one aiming to capture a feeling more than craft straightforward chops despite having so many that stick out. Thus, this disc is perfect for complete submersion with little distraction.

Hitting this style isn't anything overly original these days, but I really find solace in any band's ability to strike that narrow chord right between doom/death and the old school Florida sound. Phobophilic are masters of this out of the gate, being crafted around advanced riffing that's easy enough to move to while hinting at more intricacy. At the same time, the murky and filthy delivery of the deep gutturals pair with a very thick atmosphere aided by tough basslines to coat the incredible rhythms with a mucky overlay. When it all comes together, a feeling of cavernous terror and oozy surroundings envelopes (pun intended) the sharp contrast of the rhythms in a way that has such a strong identity.

All of that is great on its own, but Enveloping Absurdity sells the schtick even more by fastening its horrific exterior with a skeleton founded in beefy chops. On one hand, you get a taste of explosive and rumbly roars on doom oriented tracks like the longer title track, leaning far into the terror. Instrumental "Individuation" is like an extra topping, utilizing a droning plane with soft leads and acoustics to establish suspense, working nicely as an eerie break. Other times, songs like "Those Which Stare Back" emphasize not only technical prowess on their rhythms but strong, wailing solos; that bassline right after the repetitive bridge was a neat touch. Even if that's not your thing, "Cathedrals Of Blood (Twilight Of The Idols)" lends us borderline catchy leads, opening with such a fun drum ditty, and the same could be said about sudden and fast swings in "The Illusion Of Self." 

Truly this outfit has absolutely mastered that nearly Lovecraftian approach (as if their lyrical themes weren't enough) that depicts monstrous surroundings while leaving room for accessible tactics. Nothing ever feels overzealous, avoiding pretentious pitfalls that many a tech-death band finds themselves in, nor relying too much on the cavernous echoes. Instead, things are molded with machine precision in a way that's swift, impactful, intriguing, and most importantly, consistent. Anybody with interest landing on the death metal spectrum should give this a shot.

Album Review: Dokken - Tooth And Nail

Dokken - Tooth And Nail

Elektra Records - 1984

10/10

The Los Angeles outfit Dokken would spend all of the early '80s hinting at fitting into the rising glam metal movement, with a mildly limp albeit sturdy start. Only a year following their true debut album's reworking, Lynch and co. would return to leave a far greater impact with Tooth And Nail (ah, the thing I named this blog after). Not only would they rig up a far heavier swing to their formula, but along came greater nuance to the songwriting itself, packaged into an aggressive yet accessible elaboration of what I believe was aimed at before. No hate to Breaking The Chains, but a good idea morphing into a great idea is what truly sells me on a band.

On the note of heaviness, this is concocted on several fronts in the form of a far more boisterous bass kick, confident delivery of Don Dokken's vocal chords, harder drive in George Lynch's riffs, and a production that lets all of this realize its full potential. Again, all of the signs of heavier licks and catchy foundations were present before, but an obvious ceiling prevented the band from spreading its wings the way they did on album number two. Further came varied tactic in writing, letting acoustic guitars miraculously add to the muscular energy rather than taking away from it. Borrowing some of the gang vocals and keen ear for melody established prior was the last method for sharpening the hooks, making for what I can confidently call an unstoppable record.

This newfound energy is evident right away with the title track and "Just Got Lucky" acting as a one-two punch following a little "Without Warning" intro. "Tooth And Nail" holds absolutely nothing back, fitting decently inside a speed metal playlist, while "Just Got Lucky" emphasizes the melodic angle with bright leads that don't soften at all. Similarly, speed works into other numbers like "Don't Close Your Eyes," striking that balance between melody and aggression, backed by pummeling drums and falsettos a la Judas Priest the same year. To the opposite end, "When Heaven Comes Down" rakes in this same fury with a slower march commanded by thick rhythms and powerful vocals.

Looking a little deeper, the acoustic guitar adds fuel to the ever crawling flame, most notably with "Into The Fire," easily my favorite track on the record. The gang chants swinging from the best solo on Tooth And Nail's momentum feels like a release of suspense paired with the acoustics-into-metal riff that carries the entire track. "Alone Again" falls closer to power ballad territory, yet it avoids anything overly sugary or sweet, leaving just enough room for yet another hefty solo. The general atmosphere of it doesn't let it stand out from the rest, and it giving way to closer "Turn On The Action" contrasts its speeds to send us off quite nicely. If there's any filler to be found, you could make a case for "Heartless Heart" and "Bullets To Spare," but both are still very enjoyable, crafted with the same level of care to the point that I couldn't picture listening to this disc without them.

These days, Dokken is somewhat overlooked by the larger metal community due to their heavy association with the glam metal movement. Nonetheless, their sophomore record made a profound impact at the time, helping forge the genre's defining characteristics beside their NWOBHM and US sleaze rock counterparts. A more accessible but heavy-hitting formula where emotions meet aggression bridged the gap between emerging speed and glam metal movements respectively, and for that I'll always love this. Everything falling into place so naturally despite the different directions was simply a bonus to what was already promising.