The return of this Thrash so-called “supergroup,” comprised of the guitarists from Seance, Bloodbath/Opeth drummer Martin Axenrot, and bass-whore Sharlee D’Angelo (who is in way too many bands to list, and should form a new one with drummer-for-hire Gene Hoglan called We’ll Do It If You Have the Money!), would have been a lot less of a big deal to me, despite the all-(morning)star line-up, if not for the inclusion of new singer Legion (ex-Marduk, ex-Devian). His throat-shredding vocals can make anything sound cooler. And even the members of this band, talented though they are, know they need all the help they can get. Oh fuck it, I’m just going to list all the guest stars, each of whom contribute guitar solos: Kerry King with a typical Slayer solo in the title track; Hank Shermann in “The God Who Fell from Earth,” which is possibly the best song here; Gary Holt & Lee Altus I guess appropriately in “The Reaver,” since it borrows heavily from Exodus’s “Strike of the Beast,” even using some of the same lyrics; Andy LaRocque with -no surprise- the best solo on the disc in “From Dead to Worse”; and Jim Durkin in “One Foot in the Grave.” The Witchery guys obviously don’t hide their influences, and I guess that’s okay, but since this album is essentially a tribute to bands they like, the best use for Witchkrieg might be in a game of “Name the Band That Really Wrote This Riff.” To be fair, this is sonically impressive, and existing fans will almost certainly dig it, but my interest faded a little with each listen through the tracklist.

If these Belgian sickos would be so kind as to give up on full-length albums and stick to EPs with Entombed covers on them, I’d be very happy. 2004’s The Haematobic EP contained a stunning rendition of “Drowned”, and this short monsterpiece includes no less than “Left Hand Path” itself! Is “Revel in Flesh” next? I hope so. In fact, stop teasing us and just cover the entire Left Hand Path album! Seriously, who doesn’t want to hear Aborted’s version of “Premature Autopsy”? Get on it, guys! Entombed riffs apparently energize main-man/growler Svencho (the new guitarists, too, probably), and this ferocious Death Metal onslaught is more simultaneously brutal and memorable than I remember Aborted ever being before. You might even find yourself screaming along to “Grime.” Of course, I was just kidding about only wanting EPs from Aborted, but Coronary Reconstruction has set the bar astonishingly high for the next LP, whenever it may be unleashed. Bring to light that day of joy.

This is a fun little split featuring two of the more obscure Finnish Death Metal bands. Both bands contribute one original song and an Iron Maiden cover. For those who aren’t familiar with Sotajumala (English translation - “wargod”), you’re really missing out on high quality, Grind-infused, melodic Death Metal. You may have heard frontman Mynni Luukkainen’s pipes on releases by the depressive masters Black Sun Aeon, but his main band’s attack is a bit more vicious. Their cut, “Sinun Virtesi,” is a 6-minute rager that I have heard will be featured on the upcoming full length, Kuolemanpalvelus. Their cover of “Prowler” is a bit of a dud though. Even guest vocals from original IM singer Paul Di’Anno don’t really help. It is a decent cover musically, but will leave you just sort of wondering why. Deathchain aren’t really on the same level as their splitmates. Not quite as polished, not quite as talented, a touch on the Thrashier side, and their song really fails to do much of anything. Their Maiden cover is even worse. They chose “Purgatory” with guest vocals from the lead singer of Tarot. Once again… why? So, basically one new, kick ass Sotajumala song that will be on their new album anyway and two bum covers doesn’t really make this essential. But the concept is a nice throwback to the days when there was a market for plastic.

Even for those somehow unfamiliar with this Polish Death Metal band, it may come as no surprise that Hate sounds like a combination of Vader and Behemoth. And what could be a greater compliment than to be compared to those two legends? Hate main-man Adam the First Sinner has been delivering the evil for 20 years, and Erebos is so amazing that it sounds as if he’s been working on this album the entire time (actually, this is the band’s seventh full-length studio album). The acoustic intro threw me at first, but apparently it’s intended to lull the listener into a false sense of security before the blast beats kick in and start pummeling your gray matter. Any discussion of the drums would almost have to start with how fast the kick-drum molestation is sometimes, but speed is perhaps the least of Hexen’s awesome skills, as he stands with the true elite in every way. Not to be outdone by anyone, ATF Sinner has composed complex, layered songs that are often intensely brutal, but never sacrifice being memorable to achieve the necessary devastation. The perfect production is the final element, and after about 666 spins (can I still say “spins” if I’m listening to mp3s?), all I want is to keep listening to this and not have to move on to the next review.

As far as Black Metal in the year 2010 goes, I will remember it first and foremost as the year Burzum returned to school all the new jack bitches. Secondly I will remember it as the year scene giants Dimmu Borgir and Cradle of Filth laid huge fucking eggs. Hot off the heels of their 2008 return to form, Godspeed on the Devil’s Thunder, I had high hopes for a continuation of the coolness. No such luck unfortunately. Most critics have compared this to the 1998 classic Cruelty and the Beast. I guess in the sense that both are concept albums about hot, evil chicks… but musically this record is an overly orchestrated mess. It is a screenplay first, Black Metal album second. Over an hour of British women talking gibberish, Dani Filth using every vocal style he has except the ones that work, and not a single memorable riff to be found. Not even a traditional Cradle of Filth Doomy ballad! And of course what all bands must do when they’re out of ideas, 765,090-piece orchestras and 456,786-piece choirs. I’ll let Marshall Mathers sum this one up from a 2010 album that hit way harder: “Unfashionable and about as rational as a rash on a fag’s asshole.”

I want to wish all Metal Curse readers happy holidays and all the best for the upcoming new year!
We’re taking the next week off to recover from overeating and dealing with our families general holiday stress.

Posting new reviews will resume Monday, January 3, 2011.

Shut it all down. The facts and the memories. I have been running around inside on borrowed time. The medical poison, it stabilizes and drags me back, though it is against my will. Locked inside this suite of flesh and blood, stranded on clean sheets forever with the parasites in my veins. I can hear your cries. I can feel your breath to the end. You have been visiting me for so long now. Erase the map of the past… I am fighting with my heart as an enemy, falling through a black hole for eternity, caught in an endless sleep with these hollow dreams. Capture the light and pour it over me, a benefactor forbidden to all humanity. Bring me a trail and please let me feel pain. Turn to the next page. Ease your depression. You will find it better when I’m gone… This will lead you insane.

Eight long years have passed since we last heard from these Midwest warmongers, and the time has apparently been kind to them. As respectable and steady as Berserk Artillery Barrage was, this fucking shit slays it in cold blood like a bayonet in the trenches! The biggest difference evident from the press of play is the infusion, no fuck that, the worship of Autopsy-inspired Old School Swedeath. If you don’t hear it, go right to “Firestorm in Dresden” and tell me that ominous crawl wouldn’t fit right in on Into the Grave! But it’s noticeable everywhere throughout this 54-minute rager. From the drumming style to the guitar tone, not to mention the non stop assault of Slayer solos coming at you like napalm from the sky. Somewhere along Pete’s Soulside Journey, he took the Left Hand Path Like an Ever Flowing Stream and ended up Where No Life Dwells. Believe me, I’m not complaining. And Here I Die… Satisfied.

Somewhere along the way, these Canadian Death Metal legends lost me. I don’t think they ever put out a bad album per se, but for a while the fire wasn’t there. That is, until 2006’s flawless masterpiece, In the Arms of Devastation, explosively re-ignited Kataklysm’s fading embers. I don’t know what within the band changed, but somehow they finally remembered how to make memorable, intense Death Metal (although I don’t think that anyone’s going to refer to them as “Hyperblast” anymore, Northern or otherwise). The follow-up in 2008, Previal, so closely followed the blueprint of its predecessor that it initially seemed like Devastation 2 (which wasn’t exactly bad news to my ears), but quickly revealed its unique worth, and sometimes I even prefer it now, depending on my mood. So, has the band strayed from this winning formula? Not really. These Canucks have it sorted now, and aren’t taking any but the most superficial chances here, which mostly works out, although Heaven’s Venom does seem to be slightly missing some unknown, intangible quality that transforms great albums into legendary ones.