Moments that I can actually recognize treading different ground are few and far. The slower outro of "Cosmic Keys To My Creation & Times" is certainly one of them, and the synth-drenched intro to the following "Beyond The Great Vast Forest" is a pretty nice contrast. I also won't deny how hard the main riff in "I Am The Black Wizards" goes, reaching that menacing sensation that I look for in black metal. Not only is the attitude here extremely crushing, but the different directions it takes with its calmer middle, strong leads, and a doomy return to the main hook to see us out is quite nice. Like nothing else on the album, this scratches just the itch when I have a hankering for this type of record.
Tooth And Nailed
Music, Geography, History, Leftism, Horror, and more
Wednesday, November 6, 2024
Album Review: Emperor - In The Nightside Eclipse
Moments that I can actually recognize treading different ground are few and far. The slower outro of "Cosmic Keys To My Creation & Times" is certainly one of them, and the synth-drenched intro to the following "Beyond The Great Vast Forest" is a pretty nice contrast. I also won't deny how hard the main riff in "I Am The Black Wizards" goes, reaching that menacing sensation that I look for in black metal. Not only is the attitude here extremely crushing, but the different directions it takes with its calmer middle, strong leads, and a doomy return to the main hook to see us out is quite nice. Like nothing else on the album, this scratches just the itch when I have a hankering for this type of record.
Monday, November 4, 2024
Album Review: Vanik - IV
Tuesday, October 22, 2024
Album Review: Holocausto - Campo De Exterminio
Wednesday, October 16, 2024
Album Review: Reencarnacion - Reencarnacion
Self Released - 1988
7/10
Looking at a country I've actually had the pleasure of visiting in person before, Colombia beholds one of the earliest, most unforgiving acts of blackened thrash metal to reach the region. Reencarnacion formed virtually in Pablo Escobar's backyard, right in the heart of the drug lord's Medellin, crafting straightforward but nonetheless abrasive thrash under such a mean scope. Unlike some of their counterparts, this act would stick around for a while, and change/revamp certain styles over time, including experimental. But the debut record simply titled Reencarnacion is anything but that.
Instead, we have something far more aligned with the burning fumes of neighboring country Brazil's Sepultura, specifically their demo stage output. Much of this is carried by the hardcore punk attitude that came to define certain thrash movements in much of the global north, served with grunting vocal outbursts caked in a blackened hue. Much of that is likely from, you guessed it, the pummeling and degrading production, which isn't made any less harrowing by the booming drum kicks with loose snare sounds and thunderous basslines. Much of the songwriting has an extremely chaotic angle, avoiding concise rhythm for large chunks of the music in exchange for even more discomforting execution. Even when things steady out a bit and let some groovable passages in, don't expect it to be very welcoming. This includes when keys or a violin is occasionally thrown in.
Obviously this is to be expected, and like I say about a lot of these releases, it's part of Reencarnacion's charm. I would actually go as far as saying most of it is easy enough to follow in terms of keeping up with the energy alone, however the songwriting is where this is going to dip. Telling tracks apart is definitely a task, and some of the explosive breakdowns with seemingly directionless loops are a lot to take in. However, they serve a purpose in helping channel the rage into discernable moments. "El Canto De Los Sepulcros" shifts its tone several time, working in some of the most pain-drenched outbursts you can conjure up, fixed with nice bass utilization riding next to the guitars. The easiest one to digest is likely "Funeral Del Norte" with its speed-picked guitar crawls and familiar playing styles. Others take this explosive element to the majority of the tune, typically shorter ones like "Armagedden," Closing title track (Part II) however goes down the roughest, packing basically everything into one massive mess, while the short and hilariously titled "Puta Religion" works in some church organs as an interlude. The former's use of violin as part of the lead was certainly a welcomed surprise.
A mess would be a good word to describe Reencarnacion as a whole. It's hit or miss in terms of stable rhythmic integrity, but I think that if the whole thirty-five minute record was like that, it would grow boring quickly. Instead, you get a taste of some of the dirtiest blackened thrash to exist not only in the region, but probably the world in 1988. The group clearly wanted to make something as evil sounding as their conditions would allow, and I'd say that if that's what you're after, you'll do just fine with this. It's mean, it's compelling, and it's a worthwhile time for a very specific mood (one I've clearly been in lately). Just don't go in expecting much variety or stability.
Album Review: Graf Spee - Reincarnation
Orfeo - 1990
6.5/10
Zooming into the smaller, often overlooked country of Uruguay, you'll meet the grueling and ghastly Graf Spee. Named after a German warship that sunk off their coast at the turn of 1939, the Montevideo group took formation right in the midst of the nation's "civic" military dictatorship under Aparicio Mendez, starting with a taste of traditional metal. But as years went on, the political climate changed, as did the band's style, and when they released Reincarnation in 1990, they'd take on a much harsher identity reminiscent of the totalitarian days of (not so) yore. Thus, the band's once-and-done full length is as grating and discomforting as you may be able to imagine.
Stylistically, one might struggle to pin this down, as the greater extreme metal tag seems most fitting for how raw and repugnant Graf Spee's delivery is. In terms of riffs, you've got a lot of death metal influence that comes with that thrashy attitude, at least when the atmosphere allows it to be picked up. The crunchy guitar tone often fights with the bass, both blending into the unforgiving forefront that soaks the listener in an ocean of ash. Mostly, the lead guitars are what stick out, piercing the listener with a screeching bite that's extremely tough to swallow at times, seen in the several phases of the instrumental tune known as "Perfidy." If that's not enough, the vocals also appear all over the place, ranging from deep yet blackened growls aiming for a guttural-adjacent sound to higher, crossover-esque shrieks.
Though one knows what to expect when going into a release like this, Reincarnation isn't the most pleasant experience, and if it weren't for its short runtime, this could have been overbearing. But, I also can't deny the appeal of being submerged into such a proverbial pile of rusty nails. Nuances like bass crawl in "Kali-Yuga" and its lower growls contrasting the higher outbursts are a fun observation. This may be a stretch, but I also felt like I could see the traditional metal starting point peak its head in "Eunuch." If you can peel away the rusted and unfinished outer coats, I think the gallops under the crushing weight heavily reflect the NWOBHM sound that was far later to arrive to the region. Same could also be said about the softer (and I use that word very liberally) delivery that coats the start of "Self Destruction." If nothing else, the crawling bass/lead combos in that are neat.
I can't say that Graf Spee is a band I see myself returning to often. This execution of extreme metal is all sorts of fun to dive into for a glimpse at what was being crafted at the time and place, but even by those standards this has little replay value. I'd encourage fans of the inaccessible atmosphere with intricate styles to lend this their ear. If you can't walk away with much, at least try and spot the nuances buried deep within.
Tuesday, October 15, 2024
Demo Review: Pentagram (Chile) - Demo #2
Monday, October 14, 2024
Album Review: Mercyful Fate - 9
Metal Blade Records - 1999
8/10
Not even a full year after the disjointed and uninspiring Dead Again hit the scene, Mercyful Fate would drop their final record of the decade, century, and as of now, ever. With a change in the logo's look and an album art that seems to hearken back to the hellish flames that we got from the '80s, perhaps this is a sign that a shift of style is in order. 9 seems to be one that gets talked about less than any other, so I was rather eager to revisit this. It would be incorrect to say that it's anything that makes any real formula shifts, but I can promise this much; there is more of a purpose than what we got on even the previous two albums.
Like the sleeve hints at, we get a little bit of a return to form here. Themes around Satanism and Hell come back in full flesh, presented in a clean and streamlined fashion. Reflecting the late '90s era, we've got different tones and deeper distortions that feel a bit odd for King Diamond and co. however hey do add a crisp finish. Thus, we're somewhat void of that cold and haunting vibe that we got on Melissa, favoring a form that looks closer to Don't Break The Oath for inspiration. Again, the album art somewhat nods to this. Overall, it feels less like a single concept with songs born out of that initial idea, but rather is several songs of a different identity tied together with a similar vibe.
Thankfully, a lot of those songs are pretty well written and they make a strong impact upon landing. You can basically split this between numbers that take the catchy route or the speed-heavy route, both being presented nicely under this clean veneer. "Burn In Hell" has some absolutely stellar riff-work in this regard, backed by pummeling drum beats, and "House On The Hill" has a wonderful drive combining its threatening riffs behind sharp vocals and solid leads. Taking that to another level is "Insane," probably the closest the band has ever come to a full-on thrash metal tune thanks to a speed metal backbone and an explosive presentation. To the opposite end, opener "Last Rites" rests on its steady but strong chorus that can hook the listener quite easily, relying a little more on catchiness. You could say the same about likes of "Kiss The Demon," working in softer licks for some variation.
9 isn't really anything overly innovative for how far along Mercyful Fate are in their career, but it's definitely the closest effort to a return to form. Rather than being a sum of its parts, its parts are what help it standout, despite the obvious nod to wanting to their '80s output. It may not be my go-to, but there's very little to complain about, working as a nice in-betweener with the classics and the experimental ones; the brief runtime definitely helps this. Not an essential listen for those new to the band, but longtime fans that love this style should feel right at home.
Album Review: Emperor - In The Nightside Eclipse
Emperor - In The Nightside Eclipse Candlelight Records - 1994 6/10 I know, I know. It's not too often that I come at such a beloved reco...
-
Metallica - 72 Seasons Blackened Recordings - 2023 5/10 Let me preface this review with some rudimentary bitching. I hope that whoever desig...
-
Ghost - Meliora Loma Vista Recordings - 2015 10/10 Following a slight surge of popularity after their sophomore release, Ghost would reach w...
-
Alice Cooper - Easy Action Straight Records - 1970 8/10 Ever listen to something that feels like it’s the end of an era before said era even...