Vader apparently is the new Death, as in each new album is basically Piotr Wiwczarek and a revolving cast of faceless hired guns. Has that affected the music? I think so. Not a great deal, as this Polish Death Metal legend has never put out a truly bad album, but if you think back to when they really hit their ass-kicking creative stride (for me that was 1997’s Black to the Blind and 2000’s Litany), there was that Peter/Mauser/Shambo/Doc (R.I.P.) lineup stability. That’s sadly gone now, and it recently dawned on me that may be the reason I don’t recall as much of Vader’s output over the last decade as I should (save for 2005’s outstanding The Art of War EP). This album is not much different than any of their full-lengths from 2002’s Revelations onward. Maybe a touch Thrashier with a bit more Slayer worship than of late, giving it a return-to-roots quality that lifts and separates, but not much in the memorability department. Of course when you’re in the process of listening to this album, it’s awesome. It’s heavy, it’s fast, it’s dynamic, good riffs, great drumming and Piotr’s unmistakable trademark vocals, it’s fucking Vader, man! The name alone warrants a 9. But nothing really sticks, and at 37 minutes it’s over too soon. Especially when you consider the morbidly paced closer, “Black Velvet and Skulls of Steel,” is probably the album’s standout cut. I heard that certain versions of this release contain two bonus tracks -Vibrators and Extreme Noise Terror covers- however, I unfortunately bought the Israeli version.

Holy fuck! I had read this was good, but I had no idea it was going to be my motherfucking album of the year. If the Cyclone Empire label isn’t an assured seal of the highest quality then I don’t know what is. Top shelf Death Metal bands on their roster aplenty, now they are cornering the Doom market as well. England’s 40 Watt Sun rose from the ashes of the band Warning, whom I have never heard before but you can bet your sweet ass I’ll be tracking down their entire back catalog after hearing this heartbroken masterpiece. As with all perfect things, the method here is beautiful simplicity. Slow, mesmerizing riffs enveloped in a guitar distortion heavier than King Kong’s ballbag. I was amazed to see this was a trio and that there was only one guitarist. Their entire practice space must be comprised of Marshall stacks instead of walls. Patrick Walker, the man behind the riffs, is also responsible for The Inside Room’s greatest treasure, his flawless clean singing and the heartfelt-to-the-point-of-tears lyrics he recites. It is truly an amazing accomplishment when a band writes a 10-minute song that feels like it’s over too soon, leaving the listener begging for more, wishing it was even longer. These guys open the album with two of them back-to-back. The mournful combo of “Restless” and “Open My Eyes” would be the pinnacle of some band’s entire careers. 40 Watt Sun achieve it with the first two songs of their debut album. I’m not at all ashamed to admit the latter did have me in tears. You see, he writes primarily about relationships. The pain, the joy, the vulnerability, the weakness, the longing, the loss, the desperation, and the separation. And Walker chooses his words all too well for me sometimes. How could they top leading off the album with these two monumental anthems of sorrow? With three more. As all smart bands do, they find a formula that works and then stick to it, never treading far from the comfort zone. Does that make for similar-sounding songs within the framework? Yes, thankfully it does. All the songs sound similarly awesome. The only real question is how they could ever possibly top this album. For the non-lifelover, the only thing I could recommend more would be suicide.

I realized I needed to make a couple of admissions during the time spent working on this review. First, Fowl was released in late 2010 on the German-based Denovali. The US release date for this sophomore album was supposed to be April 4th, 2011, but despite all my research I wasn’t able to figure out what label got the deal. Second, I hate the “artsy” sounding Post-Metal or worse, Post-Rock, genre tags. I’m old school and believe Industrial, as a category, is sufficient even if Metal or Rock elements are present. With that out of the way, I knew upon first hearing this Australian quartet that I had to review this album. “Dust” starts out with a hypnotic passage composed by a synth, simple bass line and soft drums. As you’re about to nod off, just before the 4 minute mark, the door of their full volume is flung open like that classic scene introducing Leatherface in The Texas Chainsaw Massacre. The calm is broken with a soaring vociferous riff, which would make most shoe-gaze (another tag I dislike) Black Metal bands jealous, and resounding drums. Heirs is completely instrumental and that’s their strength. The mood, alternating between tranquility and anxiety, is conveyed through their music, encompassing the broad spectrum of the Industrial genre. While comparisons could easily be made to Godflesh (check out “Tyrant”), Swans and Fetish 69, it’s evident they are creating their own identity. With a third album, Hunter, nearing completion, a homeland tour alongside Alcest coming up in October and booking for a third European tour, Heirs is destined for greatness.

I do some stupid shit sometimes. A couple weeks ago, while waiting in a dive bar for The Dwarves to annihilate northern Indiana, my esteemed colleague Jack Botos asked me if I’d heard the new Anthrax yet. “No,” I replied, “Why the fuck would I give a shit about Anthrax?” But that got me thinking about the venerable Thrashers and this then-still-upcoming album. This band hasn’t been on my new-release radar for almost two decades, and with good reason. Oh, sure, I liked 1993’s Sound of White Noise, and thought that Joey Belladonna’s vocal replacement, John Bush (Armored Saint), did a mostly excellent job. Hell, I even listen to some old Anthrax every once in a blue moon to remind me of my (much!) younger days. But as soon as I discovered that Dirtnap Darrell was contributing a couple guitar solos to Sound’s follow-up, 1995’s Stomp 442, I couldn’t even bring myself to give it a chance. Now, after two more new LPs, and an avalanche of live albums, DVDs, and “greatest hits” collections, Bush was wished the best of luck with his future endeavors, and Belladonna is back. His vocals are not as always annoying as I remember, which is great. But the music is far more “Groove Metal” than I can possibly tolerate. I’m also unclear about how anyone could write a song called “Judas Priest” that is in no way about the band, however in this case it’s for the best, since the track is generally terrible. That’s an accurate description for the entire album, as well. There are some passable moments, even some enjoyable ones, but they’re utterly overshadowed by the Butt Rock elements, and the Groove Metal riffs all over the place. Really, what else did I expect from Anthrax in 2011? I should have known better, but I guess that I just wanted to shoot up a little false hope.

For almost all of the first of these four songs, I thought that Despectus was one of the best Gothic Metal bands I had heard in a long time (not that I seek them out), and then Oksana Element switched from her beautiful clean singing voice and unleashed a surprising dose of raw Black/Death Metal vocals to close out the track. Holy hell! It’s amazing to me that anyone can be this good at two such disparate styles. The band keeps the sorrowful symphonic elements throughout the rest of the EP, expertly mixing them with more extreme riffs and drumming to match the perfectly raw vocals. It seems as if this combination of Gothic/Black/Death just could not work, but somehow this obscure Ukrainian band makes it natural and effortless, thanks to the outstanding songwriting and playing. And Human Vices is only their first release! Where can they go from this? Other than some minor flaws in the recording, the only complaint I can even find is that at 17 minutes, it’s over too fast and I want to hear more. I try my best to listen to new, unknown bands all the time, and a gem like Despectus is rare indeed. My mind is officially blown.

I’m sure that old timers such as myself are supposed to automatically like Seven Witches because of who’s in the band (primarily Helstar’s James Rivera, but also nomadic guitarist Jack “Frost” Dempsey, and Symphony X’s Mike LePond), but just like those aborted fetuses in my backyard, I wasn’t born yesterday, either. If I ever felt like listening to a band that wants to be Judas Priest, I’d just go ahead and listen to Judas Priest, and then not have to suffer through the occasional Groove Metal riffs embarrassingly found here. Or the annoyingly high-pitched, ear-stabbing Power Metal vocals (I think that I dimly remember James sounding better with Helstar untold years ago, but maybe he doesn’t try to imitate Rob Halford in that band). Or the repetition of both riffs and lyrics. The only thing I find interesting is LePond’s bass-work, and even then just when he’s showing off (I’m also a bassist), which has nothing to do with writing a good song. Oh, and sometimes there is a little (or more than a little) Dio worship, as well. I’ve never heard this band before now, in its decade-plus career, and I don’t feel as if I’ve missed anything. Call Upon the Wicked was mostly tedious to sit through the few times I spun it to write this review. These guys are all very skilled musicians, and if you want to hear some technically precise playing, here you go, although you may want to ignore the singing. There are okay moments on this album, but merely parts of songs: a few fleeting good ideas. Even the cover of Cream’s “White Room” is blighted by overly dramatic vocal shrieking. To annoy existing fans, the three live bonus tracks surprisingly sound like an audience bootleg. Seven Witches proves, yet again, that raw ability and endless practice is worth little without someone to hammer it into the shape of songs.

What a surprise to see that Lake of Tears still exists. I haven’t heard anything from these obscure Swedes since 1995’s Headstones album, which I recall as being a little Doomier than this LP, but I’m not sure that I’ve ever even thought of the band in all that time, so the reality and my memory might not perfectly line up. Over the last 16 years I’ve missed five full-length albums, and a handful of “greatest hits” collections, EPs, and so on. Listening to Illwill doesn’t instantly make me want to go track down all that, but it is interesting. Quite a bit of musical ground is covered, from the W.A.S.P.-like “U.N.S.A.N.E.,” to the occasional Type-O Negative tribute vocals and vibe in “Behind the Green Door,” to Thrashier tracks like “The Hating” (Sacred Reich comes to mind), and even the kinda Punky “Parasites.” “Out of Control” evokes Danzig, “House of the Setting Sun” is a Hard Rock “power ballad” (very light on the power). The more that I listen to this album, the more I wonder if each of these tracks isn’t supposed to be an homage to another band… And if so, then this collection of disparate styles might make a kind of sense. I’d be lying if I said that Illwill hasn’t grown on me with repeated spins. Maybe I will track down some of LoT’s back catalog, or one of the three “greatest hits” releases, and see if they’re always this eclectic.

My first, and only prior, exposure to this French Black Metal cult was the whored out domestic version of The Work Which Transforms God. It was their 4th full-length, and the oddly numbered 777-Sect(s), is their 8th. I found this release to be a continuance of where I left off, despite a three album gap, not to mention two EPs and two splits. I may even like this more, but that’s not my focus. Blut Aus Nord’s Industrial take on Black Metal is the cynosure. At times it can be disconcerting, almost to the point of annoyance, while at others composed brilliantly. The first track, “Epitome I,” is the perfect instance. It opens with a dizzying repetitious riff which sounds like the physical feeling of spinning in a circle until you fall down then starting over again. The audio nausea ends abruptly, during the last two minutes, being replaced by eerie electronica. “Epitome IV” has an early Skinny Puppy feel right down to Vindsval’s vocals. There is an undeniable Godflesh influence in the bass and drums throughout all the songs, although it’s not a machine. The most befitting comparison for the mechanical sound achieved by drummer W.D. Feld is what Stephen Priestly accomplished for Treponem Pal’s Aggravation. That is just another shining example of their mad genius. When I’m in the mood for a pleasantly horrifying, yet unsettled listening experience Blut Aus Nord is the North Star.

This is what happens when highly talented musicians work to make music as complicated as possible. In fact, I didn’t know that anyone in Sweden even wanted to make Death Metal this technical. Holy fuck, it’s dizzying! These guys must practice 18 hours a day. And when everything completely comes into focus, as it often does, this is untouchable. But, of course sometimes complexity for complexity’s sake results in labyrinthine riffs so intricate that they end up impenetrable or just weird (unfortunately this infects bits of the very first song on the album, where the band seems determined to prove themselves at every moment). For fuck’s sake, my fret-hand fingers are cramping up just listening to these mind-mangling melodies. And it’s not at all just the riffs. The drumming is phenomenal, and Stefan Lundgren’s vocals are impeccable in their controlled rawness. At first, I wasn’t sold on the bass-work, because it’s too hard to detect, but after a few spins and intense concentration, it can be heard, and just check out the last song, “Procession Through Flesh,” especially starting at about 1:50. For those worthless shit-stains out there who listen to music not for enjoyment, but to point out microscopic mistakes in the playing or to claim that you’re a more proficient musician, I dare you to listen to this LP. I fucking double-dare you. You won’t find any supposed flaws of that sort here. I might take issue with the mix (although the recording is otherwise excellent), or even the monstrous complexity itself, but the execution of the music is utterly perfect. Admittedly, these songs are too difficult to really be memorable (except maybe for “Dream Vessel”), but other than “Ceremonial March,” which is essentially Ambient (and a weird disconnect in more or less the middle of the album), and a few riffs so twisted that they make no sense to anyone other than the band and possibly Steve Vai, Inundate is absolutely mesmerizing while its playing. Consider Sectu’s technical ability to be a 10, no question.

Upon first seeing this mentioned in some unknown “coming soon” list, I initially thought that it was the decade-long-awaited new album from the German Black Metal horde Isegrim. No such luck, of course, but Izegrim-with-a-“z” turned out to be a pleasant enough surprise, delivering decidedly Thrashy Death Metal -Deathrash, if you will. I think that every review I’ve seen of this LP, since first listening to it, compares this to newer Arch Enemy, and the similarities are clear right down to the chick singer’s raspy Death-lite vocals, but Izegrim really isn’t in the same league. The occasional bad riff brings the enjoyment down a little, but for the most part everything about Code of Consequences is good, sometimes even very good. But never amazing, never awesome. There have been some lineup changes over the years, with this being Marloes’ first of the band’s three full-length albums on vocals and bass, and I like what I’ve heard enough to be curious about how they sounded previously. If female-fronted Metal bands get you hard (or wet!), and Arch Enemy is your fave, then maybe you’ll dig this Dutch derivative.

This Canadian Black Metal band can be a little light on the Metal at times, with a significant percentage of Cognoscenti being despondent atmosphere and acoustic guitars. After going the entire first song without, the drums finally kick in a little over a minute into the second track, and are typically kept at a lethargic pace throughout the LP, although there are occasional bursts of speed and aggression. Clearly Fidei Defensor is more interested in creating depressing, melancholy moods than anything else, and one could make the argument that the harsh, esophagus-disintegrating vocals are the most Black Metal thing about these songs. And that’s cool with me. The incorporation of some Doom (check out the beginning of the title track!) and Dark Ambient elements (all over the place) really gives these presumably (I can’t understand a word of the lyrics) blasphemous Canucks an interesting sound. Cognoscenti is a solid debut, and it’s my understanding that it was recorded in 2008 and shelved until now, so hopefully new material is on the way, because it will be interesting to hear how the songwriting has progressed.

The last time I saw a 2-song demo CD was for Colonize the Rotting in 2009. I’m surprised that labels, or as in this case, the band, feel compelled to release something with so little on it. Let’s face it folks, this format is a weak version of the Wild Rags’ CD5s from the mid ’90s. Speaking of that notorious company, Avoidant probably would’ve called that label home had this been released 15 years ago. However, this is 2011 and with all the social media avenues available for bands to release songs, it’s outdated. Believe me when I say that I’m not an advocate for either Facebook or Myspace, but this band has pages for both so it isn’t necessary to pay to have a CD pressed. My advice for these Peruvian youngsters is either wait until you have more material or figure out how to upload your two songs. I’m done pontificating… for the moment anyway. The first track, “A Catalyst for Destruction,” opens with a decent blast beat then it becomes evident quickly that Eye-solated Breed is unremarkable Death Metal circa 1995. A poorly produced, sub-par version of Deicide’s Serpents of the Light mixed with Nembrionic Hammerdeath. It’s not bad, just dated, kinda like the format they chose.

I think that 2011 might be a little late in the game for an X-Files sample, but at least it explains where the band gets its name. Unfortunately, that’s probably the most interesting thing about this LP. No, I don’t really mean it. That’s too unkind to DFH. This Aussie Death Metal group is absolutely competent, with really only a couple weak riffs to slow them down, although plenty of familiar-sounding ones. The real problem is that there are close to zero “holy shit!” riffs or moments - you know, the kind where you stop whatever you’re doing and scream out “FUCK YES!!” while furiously banging your head, and/or smashing your fist into a wall. The guitar solos throughout the album are, however, almost always interesting, and the playing is impeccable. Check out the ending of “Dead Before I Started” for a truly satisfying composition, with the slow-paced rhythm guitars and fast drumming in the background of a great solo. Also give the title track a listen, especially the vicious final 30 seconds. Craig’s monstrously hoarse vocals are certainly another highlight, when used to their throat-destroying full potential. While listening to it, Where It Dwells is intense and brutal, as Death Metal must be, but when it’s over, the desire to immediately spin it again just isn’t there. Maybe more samples next time?

When I think of Greek Metal, what first comes to mind is the old coffin spirit, the abyssic genesis of apocryphal desire. In other words, Black Metal! Necrovorous destroys that mold with Funeral for the Sane, which is at times Doomy, occasionally a touch Thrashy, and always vehemently Old School Death Metal. After six years of demos and EPs, this is (finally!) the band’s debut full-length album, sounding to my battered ears something along the lines of a mix of early Dismember and Bolt Thrower, or perhaps simply like Death Breath’s crazy half-brother. Unfortunately not quite all of the riffs here are up to the impossible standard set by the ancient masters, and there can be a little too much repetition, but when everything correctly congeals, this LP is amazing. The production has been left slightly raw, I assume intentionally, which works very well indeed, since a more completely polished sound would be at odds with the OSDM philosophy. All the necessary pieces for greatness are essentially in place here, and a modicum of songwriting fine-tuning might just make the next Necrovorous recording one for the vaults.

Holy hell, this is how to make an impressive debut! In just under 24 minutes, this two-man Italian Black Metal band covers all the bases from Dissection’s intensity and complexity to mid-era Katatonia’s melancholy and clean vocals, plus a couple Thrashier riffs (or even parts of riffs) mixed in, here and there, as well as perhaps a touch of early Opeth, when they still wanted to be a Metal band. All of which is highlighted by an absolutely stunning recording and production. It is difficult to believe that Black Metal Unbound is Ogen’s first release, because it sounds as if Hartagga and Mjollnir (greatest stage-name for a drummer ever) have been working together for a long time. I suppose that I could understand if some people might not appreciate Hartagga’s clean vox, wishing the he’d stick with his usual raspy rawness, but I don’t agree. He’s quite good at both styles (as well as guitar and bass), and typically uses the clean vocals to enhance the despondent moods when they take center stage, although not always… And that’s about as close to a flaw as exists anywhere on this amazing EP.

I don’t think that I’ve heard a thing from this German Black Metal band for the last decade, since 2001’s unimpressive Encyclopaedia Infernalis. Never bothering to check back after that was a mistake, because there has been considerable improvement over the years. Unfortunately I don’t know when it happened, but somewhere along the way, Grabak apparently mentally invaded Poland and started listening to Hate and Behemoth, because Sin is very much in the same style of precise Black/Death Metal, although perhaps more atmospheric. Which is to say that it’s amazing. This album contains a song for each of the so-called Seven Deadly Sins, plus a prologue and epilogue, giving it a feeling of cohesion that’s missing from many LPs. Holy hell, just check out “Sloth - The Echoes of Babel” - it doesn’t get better than that! And I’m not just saying that because Grabak has two bassists (one distorted and one “clean”). I can’t really hear them both distinctly, although the recording is perfectly clear and powerful, but it’s enough to know that they’re in the mix, bolstering the guitar and drums, with Jan’s raw vocals cutting through it all. Now I’m off to track down Grabak’s back catalog, and what better compliment could there be than wanting to hear more?

All hail the new gods of gloom! If you’re unfamiliar with this suicidal Finnish outfit -as I unfortunately was until about two years ago- you are truly missing out on one of the underground’s best kept secrets. The only thing that sucks about these guys is trying to find the right words to describe them. I could tell you this is absolutely essential listening for fans of Katatonia, Jesu, Alcest, and Swallow the Sun, but in truth they don’t really sound like any of those bands. Perhaps the one group actually fitted for the vague “Post-Metal” tag. Their sound is basically made up of two parts. The first part being the most infinitely dismal, depressive Rock imaginable to still somehow contain a radiant energy. Imagine if Alice in Chains had been frostbitten Scandinavian Metalheads instead of Seattle Grungemongers. The second part is grimy, distorted heaviness. Far more extreme by contrast, yet equally steeped in pure melancholy. Like Neurosis, but with talent. For these two styles, frontman Manne Ikonen flawlessly executes a downtrodden, clean croon for the former and a harsh, throat-tearing scream for the latter. If you’re trying to find a weak spot on this album you’ll have no luck. Even their masterful debut, 2007’s Guided by Fire, and its equally haunting followup, 2009’s Isolation Songs, had some scant traces of filler. Not the case here. This album starts with the acoustic “In the Woods.” I thought it somewhat peculiar to begin with an all-acoustic track at first. Fast-forward a week later and there isn’t an hour of the day when the chorus of this heartbroken anthem isn’t tattooed on my brain. And that can be said for any of these tracks. Whether it be the epic downer “Breakwater,” the sorrowful hymn “Chamber,” the aggressive angst of “Clawmaster,” or the bitter finale “Soulcarvers,” every song is a standout song. The lyrics are more or less my thoughts on a daily (“I want the ground to take me and swallow me whole”) and nightly (“You have to swallow the pain despite the taste”) basis, but Ghost Brigade articulate them better than I could ever dream of. This band has reached perfection.

Three years after 2008’s The Redlight Murder Case, Deranged has returned with their 8th full-length album, and first for ever-growing US label, Sevared. This aptly-named band has always gone somewhat against the Swedish Death Metal grain by relying more on brutality and sickness over writing truly memorable songs. That may sound more critical than I intend it to. All I mean is that while Deranged has never let me down, and I proudly own their entire catalog, I’d be hard pressed to remember too many of their riffs. And after several listens, this new LP is no different, even literally repeating the past with the final track, a re-recorded version of “Flesh Rebel,” originally from 2001’s self-titled disc. While Cut Carve Rip Serve is playing, asses are kicked nonstop, and heads are banged; but the instant it’s over… well.. out of ears, out of mind. I will never tire of this kind of Death Metal, but there is a way to make the songs more memorable without sacrificing intensity, and the bands that know how to do that are the true elite.

Considering my well-known love of the genre, how the hell have I never heard of a five-year-old Greek Black Metal band that has already unleashed four full-length albums and a handful of splits?!? In my pitiful defense, all of Sad’s releases have been very short-run limited editions, some as few as only 50 copies. With that in mind, I think that it’s safe to assume that they’re all out-of-print, so hopefully the entire catalog will be reissued soon, because based on this two-song EP, I’d certainly like to hear more as quickly as possible. Main-man Ungod, who is in several other equally obscure GBM groups, expertly handles all of the instruments himself, while the only other member, Nadir, sings, or more accurately, shrieks and screams in an appropriately grim and tormented Black Metal style. The raw buzzsaw guitar tone is carried upon the shoulders of a thick bass sound (I have to like all Black Metal with audible basslines), with the drumming slightly pushed to the background, which somehow works perfectly here. Even during the faster, most intense parts of these tracks, the despondent feeling of the simple, repetitious music never completely disappears, giving …and His Minions Shall Eternally Reign an interesting sonic identity, and proving (yet again) that more complexity is not always better.

Despite the scarlet letter fans of Metalcore must wear in this time when Post-whatever boredom is the bandwagon to be on, England’s Malefice continue to excel and prosper, and deservedly so. I first discovered the band four years ago on microscopic indie label Anticulture. That full-length debut album, Entities , was phenomenal and their live performances widely heralded enough to score them a deal with Metal Blade. Awaken the Tides is their second release for the label, and wisely not much has changed. Their attack is still a Thrash-infused brand of Metalcore. Vocalist Dale Butler, when he wants to, can even channel his inner James Hetfield with his cleaner vocal style. And don’t think that’s some kind of get-with-the-times, we’re-on-a-bigger-label, sell out maneuver, he’s always done that. For the most part his vocals are harsh, not unlike Trevor Phipps from Unearth. There really isn’t much mystery to this band’s success. They write good riffs, heavy and melodic with breakdowns that compliment the song rather than embody it. They write good lyrics, straight from the heart with no bullshit attached. “We are what we are.” Again, not much has been altered, if anything. They’ve even managed to somehow keep the same lineup for five years. Almost unheard of for a touring band of this genre. We’ll see how long they can keep that up. I guess with now three solid full-lengths under their belts and a real label backing them, why would anyone want to bail? From what I’ve heard, I’ve got to see this band live before I kick the bucket, and you’ve got to go get this album so you can start moshing with your cats. Favorites: “Delirium,” “Dead in the Water,” “Blessed Curse,” and “Outnumbered, Outgunned.”