Something I Might Have Missed/Forgotten and...
Something Pulled Screamin' from the Vault of Cult
(country of origin; USA)
Each track, on this seven track opus, averages out to surpass the seven-minute mark so we (the listener) can only hope that epic diversity and/or impressive passages of brutality (to the point of an impromptu trip to the nearest ER) are in ‘the cards’.
Well I’m very pleased to announce that the album doesn’t disappoint, in fact I would add Swallow the Sun, My Dying Bride and Amorphis to the above list while toning down the Morbid Angel leaning somewhat.
Each of the tracks on display in Cold and Silence are pleasingly ambitious sporting complex and intriguing melodies all accompanied by a distinct harsh vocal style (more often found in melodic death or black metal releases) as well as a cleaner more traditional style to add depth and emotion. Progressive passages lead the listener on a journey, a soundscape one might not expect in this genre, a tapestry of experiences within multi-faceted musical capsules that far surpass anything a yet unsigned act usually offer. The Gray, for example, leads the listener on a rollercoaster of styles, from progressive to bleaker though still very melodious stretches. One of my favorite tracks, alongside the mesmerizing Fear and Dread, this could well be a track that would fit nicely on an Opeth album one that offers intricacy while also boasting rhythm and moments of darkness any memorable doom or blackened death release worth its ‘salt’ would also offer.
Overall an album I am very pleased to have asked to review and a release that any fan will and can appreciate. Expect this to be stuck in your media/CD player for this is a treasure to experience.
(country of origin; Austria)
rel – December/4/2015
So what then of the music itself?
From the opening track, Zepsuta, the audience is blanketed, assaulted, by heavy distorted riffs and (surprisingly) delightfully distinct melody albeit ‘muddy’. Thus far in I’m reminded in part of a style utilized by Helmet, with a vocal style reminiscent of Tommy Victor from Prong. The second track, Crepesculo Decrepitude, ups the ante with thicker, heavier, riffs and more of an upbeat tempo.
The remainder of the album offers a sludgey doom style with (easily discernable) varied influences. A recognizable style - though not to the point of parody or blatant plagiarism - that’s easily likable and worthy (demanding in fact) of several spins to get the full effect. My favorite track here is Horde ov Hyenas with its catchy rhythm and unmistakable stoner-esque vibe.
Call it what you will- doom mired down by stoner rock influence or sludge with doom undertones, one thing is obvious beyond all else...this is a remarkable release that demands attention!
Help the band out order Koro from bandcamp (link above) throw them a few bucks as you do so. They have a number of enticing packages to go along with the release to make the decision that much easier.
Label; Cacophonous Records
(country of origin; UK)
rel – January/29/2016
A pounding mixture of melodic death, doom and grindcore with a vocal style that’ll make any longtime fan of Napalm Death feel at home this release is sure to carve a huge grin on the face on any fan of the above mentioned genres. Though more so the extreme arena rather than traditional doom.
Mors Somnis is an interesting track, progressive passages, violin induced atmosphere and a black metal-esque vocal accompaniment might make the listener wonder whether the CD has been changed under their noses it’s not however the case this is just the track that separates TKiB from the non-stop aggression masses. A little diversity to break up the album and so soon, what a bold move!
Mesmeric Furnace is a blast to bring the proceedings to a close. Outstanding stuff!
Seek this out at your next given opportunity. #BestofBritish. #BrutalBlackenedDeath #BangyerFuckinHead!
Nuff said #HashtagMania
(country of origin; Canada)
Lively riffs and a vocal powerhouse style somewhat reminiscent of a bastard child offspring of Cam Pipes (Three Inches of Blood) high pitched love-it-or-hate-it heavy metal unique virtuosity and Warrel Dale’s (Nevermore) vocal theatrics propel this release to heights of instant likability rarely seen in the genre and even more seldom witnessed in a debut.
In one instant the listener can well imagine a Devon Townsend influence, in the next a smattering of Queensreich and that’s what makes this release special. Tracks frequently careen off genre rails to instead find their own course whilst utilizing varied influences, styles that are familiar yet in this case refined in such a way as to be something unique yet not so out of left field to be utterly foreign and unable to be fully appreciated.
Masterful solos of the guitar MIT variety, intriguing song structures and the overall varied sonic landscape boast the band’s experience overflowing with talent, ingenuity and much practiced technique. Jaw dropping guitar fretboard wizardry takes this album to a lofty plateau, a place where only very bands have transported listeners to with such blatant disregard for genre guidelines.
It pains me to say, as I’m not usually a fan of this vein of metal, that this is a damn good release. One I would highly recommend to those who rarely traipse into the darker realm of metal, those that prefer melody over brutality and cleaner vocals over than of demonic growling types.
Pick Demise of the Crown up and prepare to have you’re the space betwixt your ears awhirl with unforgettable rhythms and explosive riffery all within a package so expertly constructed as to appeal to fans spanning several genres and propel this release in a ‘must own’ priority.
Label; FDA Rekotz
(country of origin; Finland)
If you’re intrigued yet you should be as this is fluid European death metal par excellence in conclusion a stunning example of the genre.
A must-own death masterpiece!
(country of origin; Canada)
Very impressive thrash worthy of at least a few spins, recommendations and broken limbs.
A brand spanking new 7” containing new material is available at Unspeakable Axe Records, suffice it to day I’m headed there presently for more.
Label; Turkey Vulture Records
(country of origin; Greece)
The music itself is of the stoner rock variety with harsher than expected vocals and a style that delightfully lively/rhythmic with sludge undertones sounding a tad like the music stylings of Clutch. A few tracks remind me of Channel Zero’s Unsafe (with Franky D.S.V.D pulling vocal duties) release in as far as the hardcore edge creeping in occasionally. However, let us not forget the bongos in Head Banger and the epic mood infused track Deny probably my favorite on the album truth be told.
Overall an intriguing release with enough groove, anger and catchiness to cleanse the palette for those brief respites in-between slabs of brutality.
Label; Stoned Steel Records
(country of origin; Russia)
Solid death chock full of groove that’s well worth a peek.
Label; Century Media Records
(country of origin; Sweden)
Strange that I’ve not heard of this act until now as I used to be a Century Media junkie back when Samael, Morgoth, Tiamat and Unleashed (among a multitude of others) were in their heyday and melodic death in Europe was ‘spawning’ in a huge way.
This album provides mid paced melody throughout through strangely not as much of the ‘Gothenburg’ vibe that one might imagine. With similar lyrical content to Unleashed, Runemagick may be thought of as being ‘dated’ now although this is still rather catchy and I’m slightly bias because of my death roots.
Should appeal to fans of mid 90’s melodic European death, Amon Amarth those into sword, Barbarians and sorcery type lyrics and obviously Three Inches of Blood fans also.
Label; Massacre Records
(country of origin; Norway)
Many acts have attempted the Beauty and the Beast (female against the male counterpart) vocal effect though none IMO have pulled it off as well as this band had, especially at the time with the release of this album. Of course the front cover image only aided to its appeal. (insert winky knowing face here!)
Liv Kristine’s angelic vocal beauty provided the haunting melody whilst chilling atmosphere by way of synth/piano and slower melodies only added to the overall effect. Then there was Raymond I. Rohonyi, her male (brute) counterpart, the juxtaposition of the two voices together provided something mere death chuggery and heavy metal pounding rhythms and falsetto vocalists couldn’t. To be blunt Goosebumps. The whole package was something I had yet to experience before, it was truly mesmerizing and a sound/style I just could not get enough of.
And When He Falleth is a stunning example of both Liv’s voice and the fact the band doesn’t have to pound on their instruments to invoke atmosphere and depth. Several fantastic sound bites from (what I can only imagine is) a HammerHorror movie featuring Vincent Price’s voice takes the track to another level entirely.
More Gothic in nature than fully death or doom this still remains an album I return to on a frequent basis even though there are many more innumerable acts within the same vein of which to choose (including but not limited to Tristania, Leaves Eyes and more recently the hugely popular Evanesance).
An unforgettable addition to the metal/Gothic scene and arguably Theatre of Tragedy’s finest hour.