Thursday, December 8, 2016

Sodom - Decision Day (2016)

Every year, it seems like some old band I've been listening to for decades gets a chance to shine again, and a case could really be made in 2016 that it was Sodom's turn at bat. I can't act like I'm too surprised, since I'd already been teased a few of these tracks for some time now, but this must easily be my favorite of their albums since 1990. That's not to say I've despised all their intervening material; records like Tapping the Vein, Code Red and the 2006 self-titled effort all have their share of moments. But the last couple studio full-lengths leading up to this one, while polished and well rounded, were both a little underwhelming on impact. Decision Day strives for a similar appeal, in which the band draws upon various epochs of their career to blend together a mighty thrashing epic, but it does so through a nastier discourse that at many points feels genuinely fiery and malicious, not to mention memorable and destructive.

Nothing new, just really well-done Sodom. Having already extolled the virtues of the tunes "Sacred Warpath" and "In Retribution" from reviews of their respective EPs, I'm satisfied that all the other material here feels flush and fluid with them. Decision Day inhabits a realm of variation that doesn't neglect the black, raspy vocals of Angelripper's youth, the heavily structured thrashing rhythms of their classics Agent Orange and Persecution Mania, or even the more arguably accessible and/or melodic anthems they've been churning forth on 21st century recordings. No idea is really off the table if it plugs into a track, so the bombastic, roiling rhythm guitars of "Rolling Thunder" can be measured against the acoustics and Tom's whispers, or the lethal speed which is fundamental to so much of the material here can be laced with slightly more tech/thrash riffs or mid-paced neck breakers while spurious leads spit out across the vitriol of a "Caligula". That same track shows the band's willingness to impose manly backing chants to contrast with Tom's acidic inflection, and they also use a lot of morose sounding moody note progressions that aren't unlike their German kin in Kreator.

The drums and bass on this thing thunder all the way, the former given one of the fattest and most distorted powerhouse tones in all their discography, yet it's extremely well balanced against the far more elaborate and intricate guitar patterns. The latter is almost overbearing at points, but will give Sodom the satisfying extremity that can not only flex off against other thrash pundits of today but also the harder hitting genres which were partly birthed from their very own sound. The album also runs pretty deep. It occasionally suffers from some predictable riffing patterns, but then will almost always come back at you with something catchier that you don't expect, and the excitement doesn't really let up, with scorchers like "Vaginal Born Evil" and "Blood Lions" keeping your attention well in check. It might not achieve the perfection of The Antichrist in terms of how every song just sticks with you, but the chops here are substantial, each track pretty much packed. Vicious, predatory and cautionary lyrics top it all off, and it's really one of the best records released by a veteran metal act this year and regenerates a little of the faith and excitement that has so long languished between me and this once and again mighty band. Better than the last records from their 'Big Four of Teutonic Thrash' neighbors, and overall a lot of punishing fun without lacking in musicality.

Verdict: Win [8.5/10] (I earned the seed of retaliation)

Tuesday, December 6, 2016

Gravebreaker - Sacrifice (2016)

Nobody's going to accuse any of these retro 80s heavy metal acts of originality, but in all fairness it's not like that's a virtue for most of the more 'modern' strains of the genre either. We listen to a lot of these bands to hear how they've spliced the DNA of precursors into a mildly distinguishable format, and after a time writing and putting the material to disc, a sense of self-identity tends to emerge which is the classic coming of age tale. That Sweden's Gravebreaker have instantly, upon their debut album, managed to capture both my imagination and nostalgia, through a very strict adherence to early metal aesthetics in both composition and production, speaks well of where they're at and where they're going, even if it's become even more commonplace to experience throwback sounds like this.

One of the obvious comparisons is going to be made to Running Wild, specifically the gravelly and grating mid-range vocal of Nightmare, who sounds a lot like Rolf Kasparek in his earlier years, albeit a bit more nasally. Some of the riffing also summons up Gates to Purgatory or Branded and Exiled, that simple, fuzzy bite to the rhythm guitar which instantly gives Sacrifice a dated appeal, especially in stuff like the title track. But in terms of how the riffs are actually structured, I heard a lot of other paeans to classic obscure German and Swedish heavy and speed metal circa Stormwitch, Warrant, Samain, Proud, and Heavy Load, not to mention a few threads of USPM like the early Omen material, not to mention the more prominent influence of bands like Judas Priest and Saxon in the chord array. Leads are efficiently constructed but don't take too much of the attention away from the meat of the songs, and the bass here has a slightly more throbbing and active role than a lot of alike bands who simply bob along the root notes and never stick their neck out for fear of getting them cut.

What's more, Gravebreaker make an excellent use of synthesizers throughout the album to give it a hazy, late night horror mystique that really rounded out the workmanlike riffs and attitude. Whether it's the creepy closure of "Sacrifice" itself, with a melody that plays alongside the mute picking of the rhythm guitar not unlike something you'd have heard on King Diamond's Fatal Portrait, or the moody keys that inaugurate "At the Gates of Hell" as if it were some spiritual successor to Ozzy's legendary "Mr. Crowley", their implementation is pretty much perfectly fit to offer some contrast and atmosphere to the raw delivery of the metal itself, as are the minimal samples used like the subtle sirens in "Violent City", or the great dialogue from the 1981 martial arts cheese-fest Kill and Kill Again which is used to christen the song of the same name. Add to this a popping drum mix and you've got an excellent vehicle for the nostalgia I always experience for a lot of records of my youth, but the Swedes don't rely solely on that factor, because they're actually writing tunes that are catchy and fun regardless of the decade in which you're exposed to them...

Assuming, of course, that you like the filthy underground underbelly of the genre, a blend of the rugged and anthemic, and the dingy evil cover photography which seems to imply some satanic ritual is used for nuclear purposes. Sacrifice hits a sweet spot between Gates of Purgatory, Executioner's Song, Fatal Portrait, and other records of that '84-86 era, cult film worship, leather and spikes and all things that weren't nice. In a year paving memory lane with the likes of excellent output from Spell, Cauldron, Eternal Champion, Angel Sword and Lethal Steel, this is well worth chasing down.

Verdict: Win [8.75/10]

Friday, November 25, 2016

Carn Dûm - Carn Dûm (2015)

As much as I love Summoning, and as much as I expect a lot of atmospheric black metal bands to take up their mantle when paying tribute to Tolkien's Middle Earth through the medium, I'm happy that there only a precious few who attempt to copy them so closely.
Carn Dûm, a German band which takes its name from the capital city of Angmar, with members of better known groups like Narvik and Crimson Moon, employs a more traditional brand of black metal to explore the subject matter, rather than the sweeping horns and keys, and bombastic, ritualistic percussion driven style of the Austrian masters. Judging by the cover artwork, which I really enjoy for its stark simplicity, you'd expect a mix of threatening trad BM with perhaps a thread of forlorn majesty coursing through its veins, and that is pretty much exactly what they've nailed down here for their eponymous debut.

This is a rather dry sounding, conventional framework which relies heavily on tremolo picked melodic passages which often layer in fluid harmonies against the harsh bark of the vocalist, and the subdued but mechanical precision of the drumming that sounds like an army constantly on the march off in the background. So many queues here that recall the 90s, when bands were really starting to round out the rougher edges of Bathory, Mayhem, Burzum and Darkthrone to create a more accessible strain which would prove soothing to a metal listener's ears, but still incorporate the trademark rasping and rawness. This record isn't terribly dirty sounding, and that's often to its detriment, but the emphasis is focused almost entirely on the guitars and vocals, the latter of which don't really have a distinct edge to them when up against so many other snarlers and screamers. Bass is present with some root notes and really simple lines, but rarely more than that and it often makes the presentation feel a little too straightforward, reliant on those melodies...

Which are, to be fair, hit or miss. There were times I was listening through tracks like "Morgul - Metamorphose des Seins" and felt the pangs of nostalgia stirring the emotional glands for times when things were simpler and you were just so pleased to even hear someone pull off a harmony in this niche. But the issue I take is that so much of the 
Carn Dûm riffing is predictable. Repeat a few lines, then transform them to a brief blasted sequence, and then back again. There are some somber and poignant components throughout the record, and the deeper into it I fell I thought that the material was growing stronger, like "Wandelnd im Dammerlich" with its clean guitar plucking, or the more martial and mournful "Marsch auf Fornost" which at times felt like it was brute, martial black/punk metal until the fell melodies started cascading about the track, airing it all out. This is not a band without some variation, employing soaring clean vocals or sparse atmospherics, and there is potential if they can enrich the quality of the rhythm guitars further and maybe improve the rhythm section. But where I wanted to face off against a Nazgul rider here, I got maybe a goblin warband at best, nothing to scoff at but nothing too imposing either.

Verdict: Indifference [6.5/10]

Tuesday, November 22, 2016

Church of Disgust - Veneration of Filth (2016)

Veneration of Filth is an album that deserves credit for sounding just like it looks. The Putrid Matt black and white artwork promises a morass of abominations, a death metal Swamp Thing, and musically these Texans have arranged their sophomore to provide exactly that; a punishing exhibition of old school ugliness which eschews complexity for balanced, barbaric nostalgia. Much as you'd pore over the pages of antiquated horror comics to connect to those morbid fascinations you'd recall from your youth, you'd ride this tunnel of rot to reflect upon those great records of yesteryear which might have initially frightened or repulsed you if you were even open to their gruesome potential in the later 80s or early 90s: Slowly We Rot, Scream Bloody Gore, Consuming Impulse, Mental Funeral, Realm of Chaos, The Dying Truth.

Church of Disgust celebrates this legacy, and wears its influences on its tattered sleeve, but doesn't do so through sheer laziness or lack of inspiration. While it's true that a lot of the tunes here are centered on slower, predictable grooves that we've all heard before, they excel at adorning them with disheveled melodies or eerie harmonies that elevate the experience beyond something you can just easily delegate to that cardboard box of CDs you'll never listen through again. The band is also quite good at picking out samples or using feedback and ambient noise to inaugurate a track and thrust you directly into the cinematic atmosphere which influenced it. When they pick up their pace, they move at an intestine churning clip redolent of old Bolt Thrower, just a hint of the grinding that informed that old, unpleasant British death metal. When they neuter it, they perform pretty well in a lurching death/doom territory where you can envision their cover creature tramping through the muck and devouring some unwitting victim...not a sad sort of doom, just evil beyond ken.

The nihilistic barking growl of Dustin James hardly stands out in such a crowded cemetery of guttural icons, not particularly vicious or memorable; but it's appealingly raw, blunt and to the point, a cousin to the styles of Chris Reifert and Chuck Schuldiner, but not quite so dripping with guts or oozing with viscera. The bass sounds pretty cool through the album, especially when they fatten it with some effects as in "Sunken Altar of Dagon" which is joined with roiling feedback for one of the record's creepiest moments. As I was listening, I felt like the drums, while raw and potent, were a bit overboard in some places where the double bass was battering and drowning out the remainder, but some won't view this so much as a flaw since it encapsulates the very primal DIY approach this group is taking. The themes here are ripe with cosmic or earthly horror, a clear streak of Lovecraft influence, especially the corruption of Mythos beings upon the flesh of mortals, and musically they do a pretty decent job of incorporating that into the music itself. Some of the more cookie cutter chord patterns are a little too obvious, but overall Veneration of Filth promotes some of that fear it celebrates, which is more than you can say for many records of its ilk.

Verdict: Win [7.5/10]

Friday, November 11, 2016

Zaum - Eidolon (2016)

The Great White North's premiere meditation metal gurus have returned with another swollen foray into the depths of space and time. Two men, two songs, over 20 minutes a piece, which puts them at an even more substantial length than their forebears on the duo's 2014 debut Oracles. Normally I don't go out for this sort of thing, because it's often a lazy excuse for filling time with what I am supposed to believe is 'heavy' or 'crushing' or 'desolate' but in actuality is just tremendously boring...and yet Zaum are one of those bands fully capable of pulling it all off and transporting their audience to the myth-historical sojourns rambling around in their own gray matter. That they do so with such consistency shows a foresight into the direction they want to end up, rather than just sloppily biting off more they can chew and eschewing compositional skill for the sake of reckless wanderlust, and as a result, there is more genuine wanderlust here than you'd expect.

The two tracks are not entirely different, but do focus slightly harder on disparate elements to their overall aesthetic. "Influence of the Magi" transforms from a landscape of open, brooding tone-space to a marriage of deep chanting and funereal stoner doom, driven by a distorted bass and resilient synth pads like organs. The bass-line notes drudge along with the confidence of the Hyborian Age, the vocal lines arching with majesty behind the grimier, lead vocal style which feels like a doped up, harmonized North American answer to Tom G. Warrior's earlier 'cleans' from Into the Pandemonium. Percussion takes a dingy back-seat to the amazing richness of the bass tone, but it all plays into the panoply of the atmosphere like the named Magi wandering across broad expanses of sand and dust on their pilgrimage to a holy site. Like the best of the drawn-out, psychedelic doomsters, Zaum offers just enough nuance and variation that I never get quite bored, and even at their most repetitive there is simply a transcendental quality which can hook me for minutes on end. I always feel like I am going where they are showing a path, a trail of breadcrumbs to an ancient world the History books revealed to me, or I might have paid a lot more attention and gotten a few better grades...

While "The Enlightenment" does share the formula of opening with an almost cinematic, natural backdrop, it's central riffing has an even more Eastern feel to it, like monks of doom tramping through the streets of some exotic bazaar with an Elephant demi-god riding on their palanquin, a harsh gaze of judgement sweeping the immoral street-dwellers. This is Zaum's most triumphant tune to date. The percussion drops in and out for the other instrumentation, synths and strings and atmospheric feedback that could probably charm a snake out of its basket from a boombox speaker. The ritualistic lyrics kill it, and the vocals here get pretty tortured beneath the volume of that...just AWESOME bass...some of the best bas...

Look, the band is just fucking great. I want twenty more albums minimum, each honing in on different elements, or mythologies, or beasts, or Ages. Aeons. Hallucinogens. Get their stuff.

Verdict: Win [8.75/10] (face now in the wall)

Wednesday, November 9, 2016

In Cauda Venenum/Heir/Spectrale split (2016)

Here's a pretty interesting split released through the Emanations imprint of Les Acteurs de l'Ombre Productions, featuring a number of French bands, one of which (In Cauda Venenum) has already released their debut through the label last year. The stylistic representation here is a mix of black metal, post-black and sludge aesthetics, but the way the track list has been splayed out is to have the bands alternate between tracks, rather than simply take up 'sides' or 'chunks' of the play length all to themselves. Ultimately, one would hope that this means the materials will all flow together into one conceptual whole, but I actually found that while the genres really don't stray too distant from the three I had mentioned, that the differences in production values between the tracks can be rather disjointed, and where the riffing of the songs dives too deep into one particular area it also can create a little bit of an imbalance to the recording as a whole.

That said, I did not find much of the material here particularly unpleasant. In fact, the more ambient sequences, like Spectrale's "Sagittarius A" or the acoustic "Al Ashfar" and "Crepuscule" are quite nice, even if offset by the cruder bowels of sludgy, doomy, driving black metal, which peaks on the nearly 10-minute affront "Upon the Masses", a tune which at times seems like Altar of Plagues channeling Black Sabbath, streams of tremolo bleeding erupting from drudging, downtrodden chord swells. Their closer "Sectarism" is another highlight, with a more dissonant post-metal structure that also summons up a lot of those tremolo picked sequences. In Cauda Venenum, on the other hand, only contribute one piece, a 14+ minute remake of "Laura Palmer's Theme" from Badalamenti's Twin Peaks soundtrack, patched together from samples, long and sparse passages featuring a lot of sparse and dramatic instrumentation, driven by tinny beats and contrasted to sludgy distortion and a couple melodic black metal ruptures which compare closely enough to some of Heir's writing. The vocals used across the album are generally a rasp which can be repressed by the volume and tone of the other instruments, but consistent enough with a lot of what you'll hear from the post-black scene.

Heir really brings up the heavy end, especially during those double bass batteries in "Upon the Masses", while Spectrale serves as a sort of polar opposite, and In Cauda's Venenum's 'cover' interpretation bridges between the two poles. There are some intense, emotional moments strewn throughout its landscape, although conceptually it seems a little scattered...if the bands had just been produced/mixed a little closer to one another in tone, it could have been more effective as a solitary listening experience. But surely I've heard split recordings which are much more awkward and random than the pairing here, and there's a raunchy elegance here which kept me elevated past the potential boredom the longer tracks might have evoked. Not terribly resonant or catchy, but it was not absent of those passionate rushes of notes and atmosphere that put groups like Agalloch, Alcest and their peers on the radar of an audience looking for something graceful and gazy; these qualities are simply sandwiched between the acoustics of one of the participants and a tendency from Heir to delve further into pure black metal when it serves them.

Verdict: Win [7/10]

Monday, November 7, 2016

Testament - Brotherhood of the Snake (2016)

I've been scratching my head trying to think of why an album with such obvious effort attached to it as Brotherhood of the Snake does so little for me. I'm afraid it all boils down to the fact that without Chuck's vocal presence, and a few uniquely Alex Skolnick guitar passages, this could be just about any 80s-borne band putting out material that they suspect as 'modern' and 'relevant' but is in fact direly predictable and indistinct. That's not to say Testament have themselves a disaster here, but I'm experiencing a lot of the same problems I've had with 21st century efforts by bands like Onslaught or Exodus, which seem so marred by a bland, post-Pantera groove metal influence incorporated into the riffing patterns that any real nostalgia the newer material might evoke and launch renewed into the present is quickly sifted away.

Production here is loud, vivid, pounding, and polished, and the songwriting itself is certainly sprung from the DNA of past records like The New Order, Practice What You Preach and their last disc Dark Roots of Earth, but there's just too little of interest in how the riffing sequences manifest themselves other than as mediocre anchors for Chuck's performance, which is, admittedly one of the few aspects of the album I'd consider a highlight. It's one thing to dabble in familiarity, a technique that worked well for me with 2008's The Formation of Damnation, but throughout most of the track list here you are treated to a few callbacks to their great 80s works that do nothing to elevate or extend their legacy (sorry, ha) to anything even rivaling what has come before. Breakneck headbanging, brickwork Gene Hoglan drumming and overall high proficiency paychecks earned all around the lineup do nothing to alleviate the disappointment that there is nothing here I'm really going to keep repeating in my brain for any length of time beyond when I'm actually hearing it through a speaker.

Certain tunes like "The Pale King" and "Stronghold" have rhythm guitars in there which are just about cut and from past songs and then pasted into compositions that are far less interesting beyond just the sheer level of energy the band is willing to commit to them. And the aggression level is not in question here. If you're a new thrash fan picking up your first few CDs, with little info or experience with this Bay Area quintet's discography, you might be bowled over that these veterans still hit the boards this hard. But it's not the first time I've felt so underwhelmed...there was the album Demonic which had a brutal, groovy title track and then little else to offer it became so mundane, or The Gathering, which had a fairly strong reaction, but ultimately felt to me like they were doing the rounds, only more heavy for the death metal audience contemporary to its release. This one suffers a lot of the same symptoms, and while they were certainly present on Dark Roots of Earth, that album benefited from a few fresher ideas and more impressive foundations for the songs.

This is not all a bust, and the latter half of the album has tracks like "Neptune's Spear" which are still engaging and have some picking patterns we haven't heard within the Peterson/Skolnick realm, but for every spark like that, you get a dull counterweight like the insipid opening of "Centuries of Suffering" which has one of the most boring note progressions I've heard in their career. Those are the moments where Hoglan's powering beats and fills, and Chuck's hoarse growls carry everything. The last four tracks are clearly superior to everything that came before them, but even then there is just not enough charisma there to really save it. The leads, while solid, don't really offer any sort of emotional elevation to the pieces as they should. Superficially, Brotherhood of the Snake has the volume, forcefulness and finesse to satisfy some army of Jango Fett-like assembly line thrash fanatics, and maybe some of the old school crowd will just be thrilled that they can dish out such a beating so deep into their years, but I was left wanting less of a checklist of technical qualities, and more of an affirmation of why Testament helped vanguard that second tier of 80s thrash so hard.

Verdict: Indifference [6.75/10] (the thrashing and bashing and blistering burns)

Friday, November 4, 2016

Pénitence Onirique - V.I.T.R.I.O.L (2016)

V.I.T.R.I.O.L is a beautiful looking CD package, a trait I'm starting to associate with Les Acteurs de 'Ombre recordings on the whole, this one through its sub-label Emanations. Upon reading this French duo's genre, I was expecting some black metal of an atmospheric inclination, and that is precisely what is showcased throughout five substantial tracks of about 8-11 minutes in length each. However, Pénitence Onirique does not achieves its goal through techniques one might expect...this is not a work of endless ambient passages ceding and receding from the predicted grimness of its medium, but rather a straightforward barrage of black metal given a gleam by the very resonance of its guitar chords and melodies.

Yes, with the exception of the slogging bass line and open picking that christen the title track, and an occasional atmospheric cutaway (like the one in the midst of "Le Sel"), this is roughly 50 minutes of pure black metal force channeled through the shining imagery it evokes upon its external appearance. Floods of chords and and tremolo picked melodies cascade and crescendo about the ceaseless thundering of the beats, and the album relies heavily on repetitious sequences to transport its listener off to the landscapes within the band's own inner vision. The pacing will occasionally subside to a wall of simple, heavy chords above which some airy, almost folksy notes are painted like clouds (also in the belly of "Le Sel"), but this is not necessarily a band out to oust convention from their creative process, rather than hone it onto a particular element of stay consistent to that for vast gulfs of time. The vocals are a standard, often sustained black rasp in French, that gets lost in the streams of notes but also helps to give it a grimier, more fulfilling effect as the shadows of corruption seek to crumble the listener from his/her exposure to higher-pitched, light-touched tones.

I struggled a little with my overall reaction to V.I.T.R.I.O.L because it's an album I find successful at finding and sticking to its chosen soundscape, just one I didn't really enjoy. The devil is in the details, and for me there just weren't enough enduring, memorable riffs fueling the experience. There are certainly a handful of highlights, but even with repeated listens there wasn't a lot of aural subtext which emerged from the constant momentum it thrives upon. It occasionally bordered on those mesmeric patterns it seems to promise, but I almost feel that a little more dynamic range and variety would have done the record a world of good...because when that occurs, it does. However, when you're in the right head space for an album that feels like you're staring at sunlight reflected off an icy, glacial mass that extends as far as one can see...OR, if you're in the market for that strain of repetitive, melodic black metal that a lot of French-Canadian acts like Forteresse seem to have mastered, then Pénitence Onirique is a solid starter with potential.

Verdict: Indifference [6.75/10]

Thursday, November 3, 2016

Darkness - The Gasoline Solution (2016)

Further narrowing the thin band of signed 80s thrash bands that have yet to put together a reunion, Germans Darkness gathered themselves up from the dust several years ago to get in touch with their inner, disheveled youths and put together an EP with some old and new material. The Gasoline Solution is a natural followup and affirmation of this renewed vigor, a surprisingly solid slab of speed and Teutonic thrash, tempered with the appropriate riff references to legends from Destruction and Tankard to US legends Slayer. The cover definitely makes this look like any old pizza thrashing, only they've got a right to do so, since the Molotov-wielding undead hesher mascot is a throwback to the one on their minor cult classic debut Death Squad and its lackluster successor Defenders of Justice.

This is all about the rich, riffing rhythm tone which is a direct callback to those German records of antiquity, slightly cleaner for the current generation but lacking none of the punch you'd require. In fact, I'd say it was the singular best sounding record of their career, even if Death Squad might be the go-to for nostalgia's sake. Lethal speed which draws comparisons to records like Terrible Certainty, Extreme Aggression, Chemical Invasion, Eternal Devastation, and even a little "Black Magic" in several of the songs. They can bust into a slower, neck-beating passage here or there, where the thundering toms perform a coup on the snapping, steady thrash beats, but there is no neutering of the momentum anywhere to be found, and the guitars are really exciting with the caveat that on about 50% of the riffs you know where the riff is headed before it even hits a second measure. But the other half of the time, I felt like I was 14 again and salivating over the latest cassette from this scene I could plant into my Walkman. Leads are fast and do not waste your time, though they do sound a little wimpier in the mix than the rhythms supporting them.

The band has a new vocalist named Lee, but I don't think he'll take much getting used to since his splattering tone is a great fit for the material, recalling Atrophy's Brian Zimmerman, only with some hoarser growls thrown in there. They also 'harmonize' some of his lines with an impish backing vocal or shouts that really add another level of street violence, like you're being pursued through the dank alleys of some 80s dystopia by dudes that look like the mascot. Lyrically, they cover the usual social or political subject matter which is more or less relevant to this date, while having a little fun in a tune like "Tinkerbell Must Die". Okay, that was apt to evoke more belly laughs 30 years ago, but it's just another little detail on how Darkness are committed to sticking with the schematics that first launched them during that period, and while The Gasoline Solution is by no means an ambitious or forward thinking effort, the two long-time members of this band can avert whatever midlife crisis might have been haunting them, since this is just as fun as Death Squad.

Verdict: Win [7.5/10]

Wednesday, November 2, 2016

Pestilence - Reflections of the Mind (2016)

I have little idea if there will be life post-Obsideo for Pestilence; one day it seems to be one story, and then a few months later there 'that's all she wrote'. But for Vic Records, this posthumous state continues with a slew of fan-targeted releases. First, The Dysentery Penance which gave you a chance to own the band's earlier demos where they were transitioning from their thrash metal foundation into. And now, Reflections of the Mind, a record that consists of demos and rehearsals from the second half of their Roadrunner signing, Testimony of the Ancients and Spheres. I'm not quite sure who it was that demanded the release of such a thing...perhaps it was Mameli, perhaps there really is some fan outcry for it that I'm blissfully unaware of, but the fact that it's re-mastered by Dan Swanö piqued my interest enough to dive into it and see what's become of these tunes...

And it's not awful, merely unnecessary. What you're getting here is a mash-up of a rawer form of Testimony of the Ancients and a Spheres that sounds somewhat more brash but coherent, mainly in how the death/thrashing riffs offset the experimental guitar effects that were the selling point for that underrated anomaly. Here, the tones and textures in tracks like "Searching the Soul" take on a more purely ambient hue, whether it's because they weren't finalized or 'plugged in' I cannot say. In a few cases, like "Changing Perspectives", it makes the finished product seem like more of a jumbled mess as the rhythm guitars are brought to the fore against the dryer melodies. A few tunes like "Level of Perception" and "Multiple Being" sounds really washed out with all the reverb, and others like "Land of Tears" are very obvious raw rehearsals and sound pretty crappy compared to the final products you heard on the full-length album. A few of the selections are surprises, like a rough take of "Echoes of Death" from Consuming Impulse or a clamorous cut called "Omens of Revelation" which seems to have been sliced up into other songs later.

There is probably a portion of Pestilence's audience, specifically those who scour the internet for or swap death metal demos through the mail, that would be thrilled by this or even develop a preference, not necessarily for the rehearsals which dominate a lot of the play length, but the raw/alternate takes on songs they might not have fully appreciated. I am just not one of them. Had this been a pure alt recording for Spheres, an album with some clear production issues, tweaked by Swanö, then it could have actually been worthwhile for me. But as it stands, the best I can say for it is that Reflections of the Mind might have a few takers, and it's at least better than some faceless Greatest Hits collection which just lifts the songs from the studio albums. This is something slightly different. That said, I do hope this and the Presence of the Pest live recording are the last of this glut of fan packages, and if there's to be more Pestilence it's new. Doctrine and Obsideo were hugely divisive albums, but at least that more mechanical, groove evolution of the band was slightly forward thinking.

Verdict: Indifference [5.25/10]