Album Review: Holocausto - Campo De Exterminio

Holocausto - Campo De Exterminio

Cogumelo Records - 1987

8/10

In a time when Brazil was starting to see a light of hope following 21 long years of military dictatorship, the New Republic would become one of the more prominent areas for extreme metal to grow. Sepultura always comes to mind first, but the scene was seemingly growing quicker within its borders than some of its contemporaries as a whole. Holocausto would emerge right around the same time, cooking up a very similar formula. While the band's later output was actually the first thing to turn me onto them, I recently discovered in my searches that they'd put out several records over the decades. Diario De Guerra from 2019 really didn't impress me, but I certainly found a little more in 1987's Campo De Exterminio.

At first glance, one might be suspicious of the rough and blunt subject matter. Given the recent history of the nation at the time, perhaps writing about a different and more infamous dictatorship from a generation prior was a way of coping, and the deadly and monstrous attitude certainly comes through. You'll find that much of this, however, focuses on the grander concept of war and the struggle and misery that sometimes comes with. Primarily, this release is centered on the rough and rigid blackened thrash sound that was emerging around the time. Hornet-esque riffs emulating a burning sting with their production and breakneck speeds pair well with the drum clangs bouncing around the swampy atmosphere. To add angst to anger, much of the vocals take on a pain-induced, incomprehensible tone that really comes close to death metal territory, a brand new thing at the time.

Harsh outbursts like this with the music wonderfully paint the desired picture in the mind. I'll point out that what helps this disc stand out is not the songwriting itself, as I'd be a liar. Rather, Holocausto's ability to capture such a precise feeling for a precise mood in what otherwise feels like a noisy mess of extreme metal is what sells it; one doesn't need to know Portuguese to get the picture in their head (if the album art doesn't do that already). I do dig some of the energy channeled in specific songs, like the slow drag into a sea of chaos on "Regimento De Morte," especially with its hidden, power-stance bridge. I also like the way "Setembro Negro" works in the littlest bit of intricacy, detailing war terror around the Jordanian Civil War, while "Vietna" casts a nasty aura around the recent horrors of the Vietnam War with a steadier march.

But obviously, standout moments like this are just a nice side treat, and it's all about the vibe. I'll even go as far as saying that this is probably a little longer than it needed to be, too. A record like Campo De Exterminio is not for the faint of heart in an way, be it the real-life subject matter, the graphic imagery, or the filthy and unbearable presentation. However, for the specific mood that calls for this, it absolutely delivers. I can confidently say it's one of the best records from the South American continent of the 1980s.

Album Review: Reencarnacion - Reencarnacion

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

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.

Demo Review: Pentagram (Chile) - Demo #2

Pentagram (Chile) - Demo #2

Self Released - 1987

8/10

Lately I've been on a kick of Latin American extreme metal from a time far darker for (much of) the region. Ages of cartel rule and U.S.-backed dictators saw some tough times, but some who trekked through managed to kick out some of the meanest and dirtiest music channeled through anger and strife known to man.

So we'll start in Chile! Pentagram, now known as Pentagram Chile caught the tail end of Pinochet's relentless fury, raging through with a few demos in the later '80s. Their reuniting as a band in the recent decade or so saw a far more refined approach, but today, I want to talk about the less-discussed Demo #2. The death/thrashers' first demo earlier in 1987 made a strong impact on their local scene, and the follow-up added insult to proverbial injury. While not really an expansion on their initial raw and tough death/thrash metal formula, this did see some slight nuances in execution.

"The Malefice" starts us off with what is likely the most abrasive riff Pentagram have conjured up, presenting an even harsher vocal approach that wouldn't feel out of place in a hardcore band. Its slow descent outward brings us directly to "Profaner," which puts emphasis into the drum kicks, breaking the rough surface nicely to add artillery to the Possessed-like riff style. Hell, amidst all of this, you can even somewhat taste the bass rumbling in the background, a nice touch indeed. Closing things out is "Temple Of Perdition," the longest track serving up a doomier take on the style, dragging its outro slowly and menacingly through the grainy ground as we head out with an instrument focused bang.

I'm not going to pretend that the outfit's Demo #2 is anything groundbreaking or worth praising to the heavens (or Hell) simply due to the novelty of what it is, but boy is it ever a nice fifteen minute excursion. I completely see why it made such an impact in its respective time and place.

Album Review: Mercyful Fate - 9

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: Mercyful Fate - Dead Again

Mercyful Fate - Dead Again

Metal Blade Records - 1998

5.5/10

Continuing forward with both full-time projects on full-time display, King Diamond would power on as he reaches the last couple years of the '90s. Following the charming but somewhat underwhelming Into The Unknown, Mercyful Fate came back to further the story they've been telling through a different lens since the band's reunion. Dead Again would see a slight change in lineup, an attempt at even more extended songwriting, on a foundation no different than what we've heard. Could this be a time for swinging at something different?

The short version is, no. I've said before that sometimes more is less, and Dead Again is a very fine example of that. For much of this disc's runtime, we're served the same spooky traditional metal we've been getting for years, topped with the signature vocal wails, bouncy riffs, and dark overtones. The only difference is that repetition is brought out more than we've seen for the majority of the tracks, and we get what seems to be a callback to "Satan's Fall" with the title track being a thirteen minute epic. Unfortunately, this doesn't even come close to packing the same punch, as uninspired playing, unremarkable writing, and all sorts of repetitive effects and nonsense make it an absolute chore to get through. Its attempts at soft and spoopy meeting doom metal and pummeling speeds did not land, and it reaches a point where you forget you're still on the same damn song. On that note, you'll occasionally find the slower, quiet ominous section in other tracks meant to invoke discomfort, such as the beginning of "Since Forever," but it feels flat compared to the standard we've come to love.

I won't pretend that this is void of anything worthwhile at all. The issue is, even the better songs overstay their welcome. "The Night" has a pretty compelling chorus with a strong solo, bringing in energy that's easy to move to considering its catchy grooves, but it did not need to be nearly six minutes long. "Mandrake" had a lot of potential with its driving structure, but lands void of anything that sounds inspiring, going on for too long as well. Others just miss the smooth transition between directions similar to the title track, giving the writing a disjointed feeling. Bassy tones and howling catchiness found in "The Banshee" are all sorts of fun, but still, I'm not certain I'd point to this tune as an example of strong writing. 

Mercyful Fate's sixth full-length isn't worth scoffing at, as I wouldn't say any of it is overly bad, however you would expect more from its nearly hour-long runtime being from such a legendary act. There's very little to discuss in terms of dynamics, and once again I imagine it has something to do with King running on fumes with both bands on full-throttle. Should you feel so inclined, it's worth perhaps a spin, as some of the chops can scratch a light itch. With that said, don't expect it to work for anything more than decent background music that's perhaps fitting for a Halloween event.

Album Review: Mercyful Fate - Into The Unknown

Mercyful Fate - Into The Unknown

Metal Blade Records - 1996

7/10

At this point, King Diamond would be balancing his time between the solo career and Mercyful Fate full-time, with the first half of the decade seeing a lot of emphasis on the latter. Thus, it only makes sense that the second half would force Fate into sharing the spotlight. Regardless, that didn't stop the Denner/Sherman duo from returning with King quickly enough to give us a third record in the reunion era, surpassing the output from the classic run in terms of full-lengths. Following arguably the greatest record put out between either project outside of the 1980s, Into The Unknown had a hell of a pair of shoes to fill.

Stylistically, we don't see it divorced too much from the two prior records, however it did let go of the spookier, haunting, and eerie aura that coated most of the songs on Time. On the other hand, it does feel more swift than In The Shadows, finished off with a smoother surface that allows the instrumentation to fall into place nicely when backing the signature vocals. You could conclude that an identity helps it stand out, however I would be lying if I said the songwriting really held onto the momentum we've seen thus far. There isn't a lot to complain about, but I do think that the use of repetition is a bit underwhelming this go around. Moreover, a few songs like closer "Kutulu (The Mad Arab, Part II)" and "Listen To The Bell" sound a bit tired in delivery, with a step down in vocal presentation. The title track was also a little underwhelming, meant to be the long(er) centerpiece that doesn't doo too much, a fate some other tunes share.

If there is something that Into The Unknown has strength in, it's the ability to utilize a fiercer assault in terms of the riffs. "The Uninvited Guest" whips out one of the hardest openers the band has ever used, and I also love the aggressive center of "Fifteen Men (And A Bottle Of Rum)." Songs like the latter admittedly rely a bit on the element of fun, as at times it can feel a little campy, but the lyrics and the bassy outro on that are very memorable. You could probably make the same argument for "The Ghost Of Change," one that I'll never deny classic status with its catchy chorus and beautiful execution. Hell, I'll even bat for the catchy chorus and fun flow of "Holy Water," once again leaning on being fun rather than being objectively strong.

Perhaps this is a record I find myself returning to less often than others, as some of the magic that made the band great is void. However, I do think it has its own little charms, and revisiting it is still an enjoyable time. A little more direction absolutely would have done wonders for it, and tweaking the formula some more likely would have added greater flavor. It's a decent record that feels flat sometimes but is helped with a few tracks to make it serviceable enough. Had King not been balancing two full-time projects that he's the front-man in, it may have allowed room for that focus. I recall this era in the solo career also being rather botched as well.

Album Review: Mercyful Fate - Time

Mercyful Fate - Time

Metal Blade Records - 1994

9.5/10

Just a year following the band's reunion, Mercyful Fate would return to let us know that they were here to stay, at least for a while. In The Shadows showed the band rake in some of the King Diamond solo flare, which Time would then expand upon. Giving just the littlest bit of direction can do wonders for the flow of a record, and this is a solid case study of making a good idea into a great one. Utilizing a similar guide, the Nordic quintet would do exactly what was needed in order do tighten some loose ends, sharpen the production, and trim some fat.

Immediately and until the end, the cleaner delivery flexes its muscles through King's butter-smooth vocal delivery and the Denner-Sherman guitar attacks, allowing no room for rigidity in construction. The shifts between tempos never feel awkward, and the album as a whole is paced really nicely. Moreover, the softer edges with an eerie backdrop that we got on Melissa makes a small appearance, just in a less damning and swift manner; it's more of a side serving this time, rather than the main draw of the record. Yet, the melodies and catchy licks don't go anywhere, somewhat reimagining that welcoming trap into what feels like a horror movie in musical format.

If there was a crown example, it would be the opener "Nightmare Be Thy Name," with its welcoming intro that bends into a gruesome, galloping banger with howling, catchy vocal passages. A more overlooked one in my opinion is "Witches Dance," caking on a ghostly aura in the backing vocals, while utilizing the keyboards wonderfully in the bridge. Those minor tones in the opening of this track send a chill down my spine. Achieving the same effect are songs that whip out a doom metal foundation from end to end, something that rarely lasts for entire Mercyful Fate tracks. The title track works as a doom/acoustic ballad that morphs into a feeling of insanity with its harpsichord and breezy delivery. On the other hand, "The Mad Arab" pairs heavy, slow riffage to screeching leads and possessing vocal techniques that still feel poetic.

That's really one of the kickers overall; everything feels intentional, with convincing narratives and various directions that fit together like a puzzle. Time fills many of the cracks in with straightforward tunes that make a similar impression without the bells and whistles. "Angel Of Light" is a personal favorite of mine, with zero frills, still loaded with some of the best riffs the band has conjured up, and a beautiful solo that amps up the intensity. In a similar vein, "The Preacher" brings on more intensity with pummeling drum rolls and a meaner snarl to what would otherwise be smooth heavy metal banger. Closer "Castillo Del Mortes" seals things off by utilizing a little bit of everything mentioned, leaving a nice impression with the album's only needed long(er) tune.

All in all, the second album following Mercyful Fate's reunion would see a full realization of the potential from the first. Ghostly ideas and haunting glamor under a very clean umbrella came back without anything extra to hold it under for too long. The pacing, the atmosphere, and the overall execution is truly fantastic, with advanced songwriting and stellar licks hooking the listener easily. As I like to say, In The Shadows walked so that Time could run.