Napalm Death - Apex Predator - Easy Meat Review

Napalm Death - Apex Predator - Easy Meat [Grindcore / Death Metal]

That's an idiotic album title.

Napalm Death's last three albums have been remarkably relevant to metal, no easy feat when you consider the fact that Napalm Death is pretty much still one of the best bands of the genre it helped to create. This album continues in that route; well-crafted deathgrind from veterans who have mastered the art of songwriting.

The one unexpected thing about this album is just how much of a riff-fest it is. Napalm Death has never been that band with the best riffs, but guitarist Mitch Harris is on fire on this album. More than half the songs have memorable riffs that really stick in your head.

A track by track analysis, you may one to take a shot every time I mention how good the riff is:

1. Apex Predator - Easy Meat - It's an interesting way to start your album, with tribal drums and some really strange, layered vocals,... Could have been a little shorter.
2. Smash A Single Digit - The first minute's standard Napalm Death, but the riff in the last 26 seconds is so fucking good
3. Metaphorically Screw You - You see this is what I like about these guys, they really don't waste any part of the song for some filler verse. The song stays at a steady tempo and then goes on to this really groovy syncopated part; "Triple, triple, triple triple speak, triple triple triple triple triple triple speak!". I've been singing that in my head so many times these last few months.
4. How The Years Condemn - Again, the main riff here is really catchy, and the chorus tend to the more melodic side.
5. Stubborn Stains - Another riff fest. Every subsequent builds on the previous riff and the song progresses so nicely. Another thing to note; the riff on the breakdown.
6. Timeless Flogging - Lol, try getting the introductory riff out of your head for this one.
7. Dear Slum Landlord - Things get a little weird when Napalm Death slows down because Barney isn't the most gifted singer, but thankfully the song is pretty short.
8. Cesspits - This is another one with a fantastic riff. The song is relatively sludgy, but not as weird as the previous song. Mitch Harris' backing vocals are sparse but really complement Barney's low-pitched growls well, though this has been part of Napalm Death's sound for quite a while already. Newer bands, this is how often you should compliment your death growls with high pitched screams, not all the fucking time. Also: goddamit that riff at the breakdown!
9. Bloodless Coup - Ok, this one is an average song.
10. Beyond The Pale - Riffs in the middle and at the end. Yes.
11. Stunt Your Growth - Main riff is an absolute scorcher and the song itself is really enjoyable.
12. Hierarchies - Slower and strangely melodic at the chorus.
13. Caste The Waste - Another strange. slow. sludgy song.
14. One-Eyed - Wellllll, that riff in the breakdown.
15. What Is Past Is Prologue - Fantastic riffage again.
16. Oh So Pseudo - Song's pretty average but really good breakdown.
17. Adversarial / Copulating Snakes - This one is a really good song. The verse are in the question and answer format which make them kinda groovy, while the chorus is just Mitch Harris screaming "ADVERSARIAL!". The second half isn't as exciting, but seems to be focusing and ominous atmosphere.
18. Paracide - It's a cover and it's fun. Haven't heard of the original band, Gepøpel.

So it wouldn't be a surprise that I like this album a lot, though it could do with a few more tweaks.

The audio production is standard overcompressed shit at DR5, but the clarity of the instruments is still decipherable, though this might be because there's only one guitarist.

Rating: 4/5

Perdition Temple - The Tempter's Victorious Review

Perdition Temple - The Tempter's Victorious [Death Metal]

Audio: Most songs around DR6, which is poor mastering. However, the mix is excellent. Bass is clearly audible and guitar notes are crisp. Drums have high treble, a bit unusual for this genre.

Songs: Here's the thing, every song is the same. This makes it more of a 'whole album at a time' listening experience. The album is perfect for working out or if you just need an extra kick in the mornings. Music is heavily influenced by Morbid Angel (especially the guitar solos). Having said that, 'Extinction Synagogue' is an outstanding song.

Instruments: The album is a total riff fest. The riffs are highly technical and might be too fast for some people (NOT ME).Special mention to vocals by Impurath, they draw more from black metal but sound completely in place with the music. The drums are surprisingly intricate, matching the guitars note for note with cymbals, snares, insane high-hat combos. The treble helps to make the drum work livid and pulsating, on a microscopic level.


Overall: This isn't an album that necessarily pushes boundaries or even create something unique, most of what you hear here is not original, but there is an insane amount of energy. At 37 minutes, there is little room for fat an almost every second goes by unwasted on filler riffs or fills.

Rating: ★★★★☆ 4/5

The 10 Best Death Metal Vocalists (In My Opinion)

10. George "Corpsegrinder" Fisher (Cannibal Corpse)

Perhaps the most popular of the bunch, Corpsegrinder has been unfairly ridiculed for being monotonous and boring. The thing is, Corpsegrinder still has one of the most powerful screams in the business. He has speed, (relatively more) clarity and a tone of voice that highly complements the band regardless of tempo. More impressively, Corpsegrinder can conjure up ridiculously long screams, such as this 13 second long scream at around the two minute mark in the following video:





9. Jeffrey Walker (Carcass)

Some may complain that he doesn't exactly fit the bill of pure death metal, since Carcass has gone on to play melodic death metal. However, Jeff Walker's vocals are clear, sharp and vicious. He brings in as much energy as his bandmates, and as shown on their latest comeback album, age has not stopped this madman on the mic.




8. Chris Reifert (Autopsy)

An unorthodox choice, Reifert is more popularly known for his drumming, either from his main band or on the first Death album. Unlike most vocalists in this genre, Reifert's vocals almost feel more like spoken word than actual screaming, which he rarely does. His approach has been an integral part of the hybrid doom / death metal that Autopsy does, and he matches the atmosphere of terror and ominousness quite faithfully with his restraint. Also, his band is such a breath of fresh air in this genre. Reifert even overshadowed Nick Holmes in his guest performance on the last Bloodbath album.




7. Chuck Schuldiner (Death)

It's hard to make any death metal list without its godfather. Chuck Schuldiner's vocals may not always have been the focal point of his band's ambitious musical direction, but he always screamed / singed with a passion that is rare in this genre. He also has one of the bigger vocal ranges, with energetic, high-pitched shrieks in the band's first album, gradually turning to mid-pitch on the band's groundbreaking albums since Human, and returning back to high screams on their final album, with an unforgettable performance with their cover of Judas Priest's Painkiller.




6. Julien Truchan (Benighted)

Another unorthodox choice, this Frenchman's band may be regarded as deathcore or even nu-metal by some of the elitists of the genre, but Truchan's vocals are highly impressive. He runs the gamut with high pitched shrieks, death growls, pig squeals and demonic low-pitched screams, all while matching the intensity of his band mates.




5. Paul Kuhr (Novembers Doom)

Paul Kuhr's band is also known as the 'American Opeth', but he is still a different beast from Mikael Åkerfeldt. Paul Kuhr has one of the best growls in the business, that somehow retain their intensity even with the band's arguably slow tempos. Besides that, he also has a competent low baritone voice, that serve as a break between his vicious growls.




4. Jason Netherton (Misery Index)

Another band that seems to fly over most people's heads. Jason Netherton has the unusual ability to pronounce his words with so much clarity even at his intensity level, a skill that many forget in this genre. O top of that, he brings in punk shouts and pacing to his vocals that distinguish him well apart from the crowd.




3. Travis Ryan (Cattle Decapitation)

Travis Ryan is a mad man. He uses a ton of variety in his vocals, even coming up with his own brand of clean vocals that make him sound like he is being strangled. His one shortfall is his total lack of clarity, but he makes up for it with the sheer variety of styles he incorporates in his music.




2. Mikael Åkerfeldt (old-Opeth, old-Bloodbath)

How far the mighty have fallen...  Åkerfeldt might be more well-known now for his clean vocals, which are fantastic in their own right, if it weren't for the fact that Åkerfeldt has one of the best death metal growls of all time. From the length of his screams (especially in the band's first three albums), to his pitching and tone and his absolute clarity, Åkerfeldt is the whole package.





1. Dan Swanö (Witherscape, Moontower, Edge Of Sanity, backing on Bloodbath and a million other bands)

Well, he is the best. No question about it. He is perhaps even the greatest musician in the metal world, having played guitars, drums and bass and being one of the best metal producers in the industry, his knowledge of everything on stage and off is perhaps why he understands how to make his vocals stand out. His screams are an art in itself, and no one matches his ferocity in death metal screaming.

Revocation - Deathless Review

Revocation - Deathless [Death Metal / Thrash Metal]

We had the pleasure of watching Revocation live on Monday night here in a little building off Armenian Street (Substation), and I will start proper by saying that the band kills it live. They sounded good despite a shitty soundtech crew. Another bonus was Jon Rice (ex Job For A Cowboy) filling in on drums since original drummer Phil Dubois was injured. Needless to say, the real star of the show was band leader David Davidson on guitar.He played with grace and vigour. The band played two songs from this album, the title track and 'Madness Opus', which sounded fantastic as the band closed the gig. Regardless of what you think of this album, this reviewer highly recommends checking most of the band's discography if you love riff-centric metal.




As for the album, a track-by-track review:

1. A Debt Owed To The Grave - The opening track leaps out without wasting a single second. The song is straightforward, but with great riffs and audible bass (which was missing on the last album). The ending is power-metal influenced. Davidson's vocals have improved considerably. A good song.
2. Deathless - Title track which sounds a bit flat now that I have been spoilt by the live version. Still a very strong song with minimal use of clean (autotuned) vocals and a fantastic solo. All the songs on this album have a fantastic solo.
3. Labyrinth Of Eyes - The main riff is a little complex, and this song ought to please fans who prefer their metal with a little different time signature. Coming from the band, this is anything but complex, but I guess being mainstream has a price. Autotuned vocals make another comeback, but they fit the song better here than they do on the previous track. There is a very headbang-able jam session in the middle of the song.
4. Madness Opus - One of my favourite songs on the album for many reasons; great vocals from fellow guitarist Dan Gargiulo (whom, I realised, was the better vocalist live), a fantastic riff (pre-chorus) and a rather progressive approach at the song's midpoint that toggles between jazzy and heavy in a jiffy. The section of course translated very well live, and it's a clear sign of self-aware songwriting. It is a relatively simple song that is more than the sum of its parts.
5. Scorched Earth Policy - A return to lively riffs, with an almost power metal-ish introduction. The main riff is again highly memorable, and there's a drum solo somewhere i the middle (sort of). 
6. The Blackest Reaches - Halfway in and Phil Dubois-Coyne is really starting to shine. Some intricate drumming on this song, some nice guitar licks here and there. Again the solo here is pretty well done. The music is written by Dan Gargiulo here and if anything, he's no slouch on song-writing either.
7. The Fix - Another song written by Dan Gargiulo, it's another more direct song with many short but sweet solos. Dan Gargiulo must love black metal.
8. United In Helotry - You know it's back to Davidson on songwriting when the main riff has a funky time signature. The clean vocals were a bit of a surprise when they kicked in, but they flow seamlessly with the song. Fantastic solo.
9. Apex - Customary instrumental per album. I feel this has to be one of their stronger instrumentals, with a heavier emphasis on melody than the other songs. The jazzy interludes are back, and its surprising how progressive the album has been thus far.
10. Witch Trials - Closing track brings Revocation to NWBHM territory, something that's pretty wild for the band. Not that it is devoid of harsh vocals, but it is noticeably different from the rest of the album, and a well-placed experiment for the band. The song sticks out in a good way, excellent riffage, a catchy verse and some more NWBHM soloing as the song ends. Some may not like the different direction, but I welcome the diversity.

I did not get a chance to hear the bonus Morbid Angel cover.

Overall, it's a surprisingly strong album from Revocation with hardly any filler, putting it far above the band's previous two albums. However, there are still issues that prevent me from awarding the album all five stars:

Production by Zuess and Alan Douches isn't underwhelming (at DR 7), but could have been vastly improved to sound more dynamic. The mostly monotonous vocals may take a bit of getting used to. And love it or hate it, the band is still unmistakably the same at its core. Despite the variations in songwriting, those who didn't like the band before aren't going to like it now either.

★★★★☆

Bloodbath - Grand Morbid Funeral Review

Bloodbath - Grand Morbid Funeral [Death Metal]

The big news on this one is the replacement of Mikael Åkerfeldt by Nick Holmes of Paradise Lost. For many fans (co-blogger Jing En included), this is a serious downgrade. For me, he's a definitely a step down from two of the best death metal vocalists in business (the other being Peter Tägtgren, the better Bloodbath vocalist). However, I would like to add that there is a distinguishable quality to Homles' voice, he isn't very good at grunting out words in a rapid manner, but his long,growls are sufficiently executed. His presence has possibly also prompted the band to touch on Gothic soundscapes, more on which I shall explain in the respective songs:

1. Let The Stillborn Come To Me - A decent first song with a catchy riff. There's really nothing more to add (do people expect complexity from Bloodbath anyway?)
2. Total Death Exhumed - This song features guitarist Eric Cutler from Autopsy (he plays lead guitar on four songs here). Needless to say, the guest solo spot is not wasted here. At this point, Martin Axenrot's drums start to stand out. Having played subtle jazz rhythms on Opeth's latest, he plays death metal with relative ease and confidence, and enough touches of pizzazz, exactly the style needed for a band whose theme is old metallers relieving the yesteryears of this genre.
3. Anne - This one has a nice chorus, and a hint of atmosphere. Nothing much else to add.
4. Church Of Vastitas - This one ventures into doom metal territory. Nick Holmes sounds underwhelming here though (some might complain he sounds underwhelming in general).
5. Famine Of God's Word - This one's a serious headbanger. One of the faster songs on the album
6. Mental Abortion - Second song with Eric Cutler on leads. It's quite weird that a session musician has the biggest impact on the band (as opposed to you know, the band writing proper songs by themselves).
7. Beyond Cremation - Another headbanger, this is an outstanding song with riffs that come straight from Slayer's hey-day. Holmes sounds a bit more comfortable here. The Goth (and sludge) elements come back in the bridge of this song. Overall, quite well-written.
8. His Infernal Necropsy - Death metal by the numbers. This has blastbeats (which have been pretty rare o the album).
9. Unite In Pain - The first single, and the one that had fans outraged by Holmes' vocals. On the other hand, I am ecstatic with Cutler's contributions here, from the solo in the introduction to the main riff, THIS is old school death metal.
10. My Torturer - The last song to feature Cutler, who goes out with a serious bang with one hell of a guitar solo at the end. The chorus is definitely memorable, this is one of the best songs on the album.
11. Grand Morbid Funeral - Save the best for last, eh? This time, the song features Chris Reifert, the vocalist/drummer of Autopsy. If anything, this album proves how much of a better band Autopsy are than Bloodbath. Reifert comes at the end with the strongest vocals on the album, with a mad, ferocious approach that is unforgettable.

As you can see, I am not very favourable to this album. One thing that seriously undermines everyone's performances here is the production, it's not jut the paltry production at DR5 (why compress sounds if you are going for old school?) it's the tones and the mix, which make the guitars sound extremely dull and powerless (save for the Autopsy guys). Some effects on Holmes' voice could have been nice, everyone knows the previous two vocalists had effects on their vocals, given how good they may be.

Overall, there are a few good songs here and there, but I will definitely be returning to the older Bloodbath records.

★★☆☆☆

Decapitated - Blood Mantra Review

Decapitated - Blood Mantra [Death Metal / Groove Metal]

1. Exiled In Flesh - First song starts off with a pretty angry riff. The main riff is nice, but it does not really climax. Right off the bat, I am pretty taken aback by the speed and heaviness of the band on this song alone. Song ends with some atomospheric intuerlude, giving you just a little breath before-
2. Blasphemous Psalm To The Dummy God Creation - Despite the hideous title, this song is even faster than the first (well done to whoever ordered the songs here). Rafał Piotrowski is actually a pretty strong vocalist, metalcore or not. His lengthy screams on the chorus are orgasmic. Meshuggah vibes are quite obvious, but they are not bland carbon copies. Młody steps up to the late Vitek's drums with a lot of vigor, his drums lead this song.
3. Veins - By now you should be aware that Decapitated have thrown away their technical side in favour of groove-laden songs, and the groove on this album packs a serious punch. This song even has a heavy breakdown, and as with the first song, suddenly has a slow section with introspective guitars. This has been a curious theme for this album (another influence from Meshuggah's Koloss?). It's a decent song, and almost ready-made for weight lifting sessions. Skip the interlude if you are doing some power lifts, though.
4. Blood Mantra - Surprise; a melodic chorus! It's a catchy song, and cruises with just enough variation to keep going. Vogg's guitars and Młody's drums really compliment each other well.
5. Nest - The beauty of this song is in its latent complexity It appears simple and groovy but has quite a bit of polyrhythms going on. The solo isn't so much a solo as it is an interlude, but it does help to break the staccato.
6. Instinct - Some crazy riffing over here. A fantastic song. Enough said.
7. Blindness - A personal favourite song on this album. Another example of polyrhythms (guitars are 3/4 while drums are 4/4). This also another very Meshuggah-like song, but goes further to add a more personal tone to the songs. It's Meshuggah with a lot more raw emotion and introspection. Excellent execution. A slow Decapitated song would have been thought a joke ten years ago., but this is probably one of the best songs Decapitated has ever done.
8. Red Sun - Seems like it's following what Meshuggah did with 'The Last Vigil', but it's not the album closer. Again, smart move by whoever structured the album sequence.
9. Moth Defect - The band ends on a very interesting note. The song is mid-paced and is not as long as it seems (bloated by atmospherics again). Some crazy snare rolls in the chorus, and some pretty experimental songwriting.

In all, I would have to say I am pleasantly surprised by this album. I did not enjoy 'Carnival Is Forever' as much as their back catalog, and was worried if the band had hit its creative peak. With nearly every member replaced in the band for the second time, it's good to see that Vogg continues to churn out some memorable guitar-driven songs here.

Production-wise, the band does just okay. It's mastered very loudly at DR7, but it's not brickwalled. The mix is fantastic though, the guitars and drums are very thick here. Bass is almost inaudible, but I suppose that's also because bassist Paweł Pasek isn't doing much anyway.

As for the album itself, it might be a bummer for those expecting their earlier material. It's a very steady, mid-paced album, and I appreciate the maturity in songwriting. It seems like the logical direction too, and I am happy to say that I find this album much more enjoyable than their previous one. Very well-written death / groove metal.

★★★★☆

Cannibal Corpse - A Skeletal Domain Review

Cannibal Corpse - A Skeletal Domain [Death Metal]



As usual, song by song:

1. High Velocity Impact Splatter - first of five songs written by guitarist Pat O'Brien, it's actually surprisingly easy to tell who wrote which song here. A very powerful introduction, and some fantastic vocals by George Fisher (who would have thought, huh?). O'Brien's riff in the verses is fantastic.
2. Sadistic Embodiment - again, written by O'Brien. This however, is a very average song, which only picks up when the tempo drops.
3. Kill Or Become - first of two songs written by the other guitarist Rob Barrett, and he seriously brings the grooves on this album. Why he has not written more is a topic of discussion for another blog, I guess. Fantastic solo, great galloping riffs, and a surprisingly exhilarating moment when Fisher screams "FIRE UP THE CHAINSAW!". One of the best songs on the album.
4. A Skeletal Domain - third number by O'Brien. So far not stopping the momentum of the album, groovy sections interlaced by blastbeats. The emphasis of this album is groove, as opposed to technical mastery on 'Torture, the band's previous album. Whatever was done to Fisher's vocals in the mix is really working so far. This song is also considerably sinister.
5. Headlong Into Carnage - first song on the album written by bassist and founding member Alex Webster, and it really shows, since Webster was the main writer on previous albums. An average mid-paced song though. I would not count it as filler straight away, it does well enough to be above that, but isn't is memorable as the first four songs.
6. The Murderer's Pact - again by Webster. Very black metal-ish vibes around the chorus. The riffs here are so tight. This song caught me off guard, quite a variation from Cannibal Corpse's standard fare. A very strong song.
7. Funeral Cremation - More Webster. It's clearly filler. You start to wonder why Webster hasn't sprung out on any bass solo yet.
8. Icepick Lobotomy - second song by Rob Barrett, and my personal favourite of the album. Great riffs, catchy chrous, and a great change of pace in the middle. Cannibal Corpse can't get better than this.
9. Vector Of Cruelty - Webster's fourth song. Very uninspiring.
10. Bloodstained Cement - The last Webster song. Tapped my foot a bit here and there, but there is really nothing much to add. Again. Webster's refusal to break into bass wankery confuses me, that would have been a lot more interesting that this song.
11. Asphyxiate To Resuscitate - Co-written by Barrett and drummer Paul Mazurkiewicz. This song is a little more vicious, and as with Barett's other songs, there is a hell lot of groove. Not a bad song, though it does leave something to be desired.
12. Hallowed Bodies - O'Brien's last song ends the album on a rather high note with an absolutely ferocious riff. Guitar driven and brutal, this wipes any bitter aftertaste left by the previous few songs.

Some things to note when viewing the album as a whole; nothing to expect from George Fisher, he is serviceable here. Guitar directions are surprisingly welcome on this album, bass springs through every note played here. Great mixing, terrible mastering at DR4 (highly compressed). However the production itself isn't bad when discounting the numbers. Paul Mazurkiewicz's drumming pulls the whole band down because he plays the same repetitive thing again and again. Bummed because he was getting better on the last few albums.

Still not as good an album as 'Torture', still not as good as 'The Bleeding' (the best Cannibal Corpse album ever made). Not a bad album per say, but not close to being a good one, seeing as half the songs were filler.

★★★☆☆

Scar Symmetry - The Singularity (Phase I - Neohumanity) Review

Scar Symmetry - The Singularity (Phase I - Neohumanity) [Melodic Death Metal]

 

Listening to this album has rendered me temporarily unable to express my thoughts in coherent, structured paragraphs, so here goes:

1. The vocals on this album are a huge letdown. Hopefully this doesn't become part of a larger post-Christian Alvestam trend; if the work on "Dark Matter Dimensions" was forgivable at least, the material here certainly isn't.

2. The band has taken their trademark 'corny' shtick a tad too far this time round. It worked in the past - see, for example, the music video for "The Illusionist" - because it contrasted so starkly with how everything else about their material was more than worthy of being taken seriously. Now, the cheesy synth effects, when taken alongside the often-clownish vocals, produce the exact opposite effect.

3. The drum work is solid, but nothing new.

4. The guitar work is, as expected, top-tier. The solos, in particular, are immaculate, allowing the listener to conclude nothing other than that a lot of time, skill and thought must have been put into their creation and execution. Per Nilsson is one of the best things to have happened to music in the past decade or so.

5. However, this only goes a small way towards salvaging an album that starts off oddly (via the strange 53-second piece "The Shape of Things to Come") and never stabilises. There is no "best" or "signature" track to this album (the track closest to this honour being "Spiral Timeshift"), which might be a good thing if the album was a masterpiece, but unfortunately is not the case here given that it falls far short of such a standard.

6. Scar Symmetry has long banked on these things to keep itself relevant: (1) creative guitar work, (2) strong vocals and (3) that unteachable ability to create songs that linger in the listener's memory. As regards The Singularity (Part I), element (2) is rather in question, and element (3) is unquestionably missing. This is not the band's finest moment.

★★★☆☆

Misery Index - The Killing Gods Review

Misery Index - The Killing Gods [Death Metal / Deathgrind]

The album comes out four years after their last record, Heirs To Thievery before drummer Adam Jarvis went on to fill for Pig Destroyer.



If you like your death metal, this is the album to go to. It doesn't really deviate from the path Misery Index has been on, has a nice balance between grindcore and death metal (enough to help stand out from the wave of death metal albums anyway). If anything, there is a heavier emphasis on melody then before, but the band also seems to have lost it's hardcore/punk vibe. Does that pay off? Well not so much, but the results aren't disappointing either. The first five songs are intended to be a suite (entitled 'Faust'). The songs flow pretty seamlessly into one another but doesn't accomplish much else. In fact the opposite seems to happen here, the album seems pretty one-dimensional and repetitive. There are few standout tracks (Conjuring The Cull and Colony Collapse), but everything else doesn't seem memorable. The two instrumental tracks 'Urfaust' and 'The Oath' sees the band meandering in atmospherics, but it doesn't seem convincing (especially when you compare with an album like Immolation, who seemed to have mastered the art of cold atmosphere in death metal). As opposed to their openers in the past ('We Never Come In Peace'), the instrumental tracks seem pretty useless.

In terms of performance, the band is pretty much what you would expect from the genre. Adam Jarvis is a phenomenally fast drummer, but seems to be pretty under-utilized here. Not sure if it's a conscious effort to separate themselves from his mathematical drumming on Book Burner, but Jarvis is usually jut blast beating or double peddling here. Guitars are pretty much the same despite a line-up change, though I guess the punk influence left with John Voyles' departure. If anything, you wouldn't know there was a change in the line-up. John Gallagher from Dying Fetus lends a wild guitar solo on 'Colony Collapse' which is surprisingly memorable. Band leader Jason Netherton is on absolute top form here. His vocals sound more ferocious and he even brings in some sharp barks on this album. His bassline can be heard quite well too, and his tone definitely brings a lot of character to the songs, adding a dimension of fury. I have no idea what he's saying so far and there hasn't been an official release of the lyrics, and his lyrics have been one of the best in the genre. I may revisit this review and add some lines once I got a hold of the lyrics.

In terms of production, the mix is about right. The drums are audibly loud and carry a lot of depth, though that's the same mix they have been tinkering with for years anyway. The mastering, however, is pretty subpar and doesn't lend to the music in anyway. The dynamic range is a dismal value of DR5. This isn't going to deter casual fans anyway.

All in all, I would say the album is a bit of a letdown. Yes it's still heaps above the average death metal album, and despite the lack of memorable hooks, the album still has a lot of flow and works very well as background music or when working out (this is definitely going to be on my gym playlist). I sorely miss the punk vibes that made Traitors such a great album, and I still think that that is their crowning achievement.

★★★☆☆ Average

Conquering Dystopia - Conquering Dystopia Review

Conquering Dystopia - Conquering Dystopia [Instrumental Metal]

Adding to the veritable list of musical super-groups to release material within the last year or so is Conquering Dystopia, featuring Alex Webster (bass), Jeff Loomis (guitar), Alex Rudinger (drums) and Keith Merrow (guitar). 

Being an unabashed fan of the instrumental work of Loomis and Webster, like so many others in the metal world are, I was gleefully anticipating heavy riffing, blistering leads, interesting bass work and ...

... more heavy riffing. 

Keith Merrow has been one of the few YouTube musicians that I've followed for a good few years. Of course, that means that I've heard his previous collaborations with Loomis. Still, the prospect of getting to listen to a full album featuring two of modern metal's most tasteful and creative riffers was enough for me to put my work aside and plug in.

Singling out a particular track or two to feature here (and then verifying its availability on YouTube) was no easy task. This album is as tightly-written as they come, chock full of interesting riff lines and adorned nicely by Alex Rudinger's solid drumming. Each track has its own 'feature': check out, for example, Rudinger's subdivisions of the main motif in the first 30 or so seconds of "Inexhaustible Savagery" (clip above). This is undoubtedly straight-up metal drumming, blast beats, double-pedaling and all, but it is presented in a way that appeals as much to the music geek as to the headbanger. 

A similar concept can be heard in the opening riff of "Autarch", only that here, the band is working around a triplet feel (as compared to the straight 4/4 in "Inexhaustible Savagery"). Often, guitarists working with more than six strings fall too deeply in love with the extended range and end up producing muddy, unimaginative chugs as excuses for riffing ideas. This is, thankfully, never the case here - Loomis and Merrow, perhaps unsurprisingly, make good use of the full range of their instruments in creating highly listenable hooks and riffs.

The lead work, as has come to be expected from Loomis, is edgy and blazing quick. What is surprising about it, however, is that it takes up a significantly smaller proportion of the total airtime than Loomis has always had with his solo work. I was still iffy about this state of affairs after the first couple of listens, but have slowly come to appreciate how this affords space for Merrow's own melodic passages and Rudinger's frenetic drumbeats without taking away from the fact that Loomis is the de facto lead player.

My only definite gripe with this album is that Webster's insane bass-playing isn't featured as much as I would have liked it to be. Perhaps that was not what the band had set out to do, but ... it's Alex Webster! Imagine buying a Ferrari and only ever using it to perform the mundane task of driving to work! Having said that, though, this is ultimately only a minor issue in light of all the other excellent things the band does in this work. Production is good, songs are captivating, the band sounds like an actual unit instead of a hastily-assembled bunch of musos and Keith Merrow finally gets his due time playing for a wider audience. 

Here's hoping Conquering Dystopia produce more stuff.

★★★★☆

Behemoth - The Satanist Review

Behemoth - The Satanist [Blackened Death Metal]


If anything, The Satanist is an album that beckons repeated listens and may finally push Behemoth to the top tier of metal bands.




There are dozens of the little things that one would instantly recognize as the signature Behemoth sound; the blastbeats, operatic elements and black metal tinge that always put them a cut above needlessly fast bands like Nile and Suffocation. But the album boasts numerous new elements that suggests The Satanist will be the game changer in Behemoth's career.

The intro and first single 'Blow Your Trumpets Gabriel' brings in a full-fledged doom metal approach that was merely flirted with on the previous album 'Evangelion'. The tinkering of tempos might baffle the cultists who lust for Behemoth's usual brute force, but this new found maturity in song writing makes the album a grower rather than one that pummels you on first listen- before you get bored of it. The solos are even soulful on songs like 'Messe Noire', a strange way to end one of the faster songs on the album. Speaking of fast, 'Amen' is Behemoth's most punishing track ever put to tape (yes!). Elsewhere, there are clean vocals on the closing track 'O Father O Satan O Sun!' (albeit autotuned, but given the vocalist, is that really unreasonable?). In fact, the final track is a sing-along track that echoes 80s industrial and goth music, not surprising given Behemoth's cover songs in the past, but somehow in its cheesy chorus interlaced between tribal drums, tremolo picked riffs and synthesizers, it sounds refreshing coming from a high profile death metal band.




The production on the album is fantastic despite is mediocre dynamic range (it sits at about 5 or 6). Inferno's drum tone is tribal rather than cold and harsh, and Orion's bass is extremely audible in the mix. Let me repeat, it's as audible as Geezer Butler's basslines in Black Sabbath. It's huge and funky, whether or not the music is at full speed or at mid-pace. Darski's vocals are absolutely monstrous and passionate on this album, sounding more organic than in Evangelion. The stripped down approach is a welcome direction on this album, given the other cheesy elements that pepper the songs; it would be hard to take the band seriously if they were still going for an over processed sound.

The guitar tone is great but the solos are still lacking even if they try to be melodic than in their last few albums. Lyrically, the band is still not very intelligent, though Behemoth was never a band know for its poetry. I think it's more than enough that the band still still sounds good despite its tired subject matter.

All in all, the album is great. Not a classic. But sonically an album that is retrospective and varied enough to unite fans who have been divided by the band's experimentations and changes in sound. For me, Behemoth's debut black metal album Sventevith has always been the band's peak (please do yourself a favour and listen to it here, but The Satanist throws a different light on a band, a pleasant surprise of an album that is sure to be talked about for months to come.

★★★★☆

Immolation - Kingdom Of Conspiracy Review

Immolation - Kingdom Of Conspiracy [Death Metal]

Since 1991's debut Dawn Of Possession, the death metal veterans have been putting out nothing but consistently respectable material and this ninth album is no different.



There isn't much I can't break down on the album because that is how lean and gimmick-free it is; no keyboards, no acoustics, no mind-blowing vocal shifts; just plain death metal. It does, however, have a very different approach to the genre that most practitioners have forgotten about; song-writing. There are very few blastbeats on the album, despite Steve Shalaty providing some fantastic footwork here. It never sounds predictable, and works wonders even when bound by an overprocessed drum sound (what the intention of such a mix is, I wouldn't know). Steve Shalaty's drumming is engaging and stands out particularly in 'Keep The Silence'. Robert Vigna takes up the title of riff lord, with his signature atonal riffs taking up centrestage yet again. The production for his guitars are exceptionally well-produced, overlaying subtle riffs over in your face riffs accentuated perfectly by the drums, the result is a multi-faceted sound at any point in the album. His style of using guitars rather than synthesizers and keyboards for atmosphere also lends the album a more convincing legitimacy. The result is a cold, mechanical sound that sounds brutal in its pursuit of clarity rather than the dirty underground swirl of a lo-fi mix most bands are using.

Songs-wise, the album doesn't depart much from Majesty And Decay at all, which is by no means a problem at all. In fact, this album is logically the Part 2 of the former, with more muscle and less fat. True, this makes for a dull listen when compared to many other bands pushing the boundaries, but Immolation weaves in enough tempo changes (and they happen on  the dot here, without losing sense of musical direction) into the songs to keep every album a bit refreshing without compromising style. The mechanical nature of the production contrasts with the completely free form song structures here, giving the music some for of inhuman liveliness, in the form of building uneasy tension and dissipating them with aptly placed guitar solos that are frenetic and wild.

As for the negatives, the album's main strength is also its possible weakness; as the album relies mostly and tempo changes and rhythms rather than melodies, this is sure to be a major turn off for casual listeners, even if they are self-confessed death metal fans. Also, because of the album's nature, it demands listening at proper situations, at night, or maybe during cold weather. As with black metal, the album seems dull and meaningless when listened to in broad daylight.

Also, I may confess that I still prefer Majesty And Decay over this. The songs here are too concentrated and dense for casual listening, whilst Majesty And Decay made ample use of space and drone to ease tension between the off-kilter songs. As with Portal's offering earlier this year, Kingdom Of Conspiracy is too intense to the point that the album is an overkill. It has to be listened at sparing intervals.

But maybe that was the point of these death metal veterans.

★★★★☆

The Faceless - Autotheism Review

The Faceless - Autotheism [Opeth/Devin Townsend/BTBAM/Mike Patton]





I will not say anything different from the thousands of critics on the Internet, this album is a mismash of Opeth, Devin Townsend (blatantly ripping off the song 'Deconstruction' on their song 'Autotheist Movement II: Emancipate') and every other progressive metal band that has basically mixed elements from numerous genres into their respective musical styles. Is this a good or bad thing?





The production is a very clean, crisp sound, which goes well with the Mike Patton-esque atmospherics (the circus elements in 'Deconsecrate' are pure Mr Bungle soundscapes). Guitar is amazing of course, as evidenced by the beautiful solo on 'Emancipate'. Drums, though not spectacularly remarkable, do service well to back the music. Vocals are puzzlingly immature, especially the clean ones. The death growls are what every fan of the band want but I find them very tiresome. This isn't Opeth.


Songwriting wise I could give them a high score, no doubt, these are powerful songs, but where is the originality? Given, this is the logical step from 'Planetary Duality' with the rise of more technical death metal bands, but you should be able to fill in with your own chops if you want to fill in the veteran's boots. This record is undoubtedly one that is full of promise, but is rather messy in presentation, rather than providing a full fluidity of tracks, and sections that do not juxtapose well together. For one, get rid of cheesy voice samples if you are going to do straight off death metal.


★★★☆☆ Average - Half of album is listenable

Grave - Endless Procession Of Souls Review

Grave - Endless Procession Of Souls [Doom / Death]





Very quickly, this is old school death metal played in doom metal guitar tones. Unlike the technical wankers of today, veterans Grave decide to bring out the heavy, brutality factor with dragged notes that act like moderate waves on a beach- it is gentle but you know deep down the sea is powerful.





Excellent deep production that makes the band sound heavy as hell even though they aren't scary enough to scare away thrash lovers. Tempos are variant, with more songs going on with plodding mid-pace with enough speed on songs like 'Disembodied Steps' to make you unconsciously headbang even when you are listening in public.





On the negatives, perhaps the only thing about the material is that is predictable even before you listen to the songs. As with most veterans, Grave already has their signature sound, and when every other new band is trying different things with awry results, sticking with accessible familiarity may not be a career low.


Rating: ★★★★☆ Good - Strong flow, immediately grabs you

Featured Artiste: Opeth

Opeth is a progressive death metal band that recently switched to jazz-influenced classic prog in their last album 'Heritage'. The next Opeth album can be expected around 2014, so I guess a feature two years before their next offering is apt. Opeth is anything but immediate, I myself had Opeth on my iTunes for a few months before I was suddenly engulfed in their music. Opeth's music can be described emotionally dense, with their songs usually interpreted as having several arcs across an average song length of 10 minutes. Opeth's most notable style is their shifting between harsh death metal growls and soft, beautiful acoustics while frontman Mikael Åkerfeldt's vocals always nail the mood of the passages accompanied. Rather than going on a few individual songs, I will go through Opeth's last ten albums in chronological order, because Opeth is focused on the bigger picture.


1. Orchid (1995)





The first Opeth album and already a critical success. Bands rarely display such maturity and musicianship at their debut but 'Orchid' could be considered the work of a veteran band. Twin guitar harmonies pervade this and the next album, but what was more interesting is the arrangements on the album. As stated earlier, the band already had powerful dynamics for music that was as soft as it was heavy. Though not as prevalent as in other albums, there was a tremendous amount of non-metal influences in 'Orchid' for it's time, a time when rednecks like Pantera were parading with their cowboy anthems and Slayer was at its peak and Metallica was selling out and KoRn entered the market. Opeth easily swept through them with this adventurous, ambitious and epic debut. Crowd favourites include the epic 'In Mist She Was Standing', 'Forest Of October' and the fantastic 'Apostle In Triumph'.

2. Morningrise (1996)





The guitars on this album are amazing. The drumming, though not as perfect as in the coming albums by Martin Lopez, was important in adding to the nuanced moments of the album. Johan DeFarfalla's bass was thick and complex, and the combined efforts of guitarists Åkerfeldt and Peter Lindgren, along with then drummer Anders Nordin created a suffocatingly thick atmosphere that was intensely personal, again another characteristic that separates Opeth from its peers. The music can be described as a well mixed balance between progressive, death metal, black metal and acoustic guitars (which are plenty in this album). Åkerfeldt's vocals are far from perfect, with the use of screams still pervading most of the album, and his singing sometimes cringe-worthy, but overall they do not spoil the music one bit, in fact, it's imperfections lend to the almost perfect dynamics of this amazing album. My second favourite Opeth album. There are not many standout tracks, seeing that there are only six in this album, but if I had to hazard a choice it would be the jaw-dropping 20-minute-long 'Black Rose Immortal', which features more riffs than complete albums put out by other bands at that time.



3. My Arms, Your Hearse (1998)





Opeth is a band that is all too familiar with change. This point of time marked the departure of Nordin and DeFarfalla. In came Martin Lopez, who recorded drums on this album while Åkerfeldt contributed bass for the album. Based on a story of a man who comes back from death to find his wife, 'My Arms...' proved to be a breakthrough for Opeth and set the tone for the next seven albums that would come it's way. Åkerfeldt started using more vocal effects that result in a monstrous death metal vocal performance. Song titles form the last words of the previous songs and flow into each other almost seamlessly. Drums are now more metal, with the usage of double bass considerably increased. There are many strong songs here but the quintessential metal track here is 'Demon Of The Fall'. The acoustic riff in the middle builds up enormous power before the electric guitars comes soaring in with Opeth's favourite riff, as Åkerfeldt screams out the the title of the song, before everything collapses for the sad, melodic ending as the protagonist sees the woman who he married flee from him as she sees him.


4. Still Life (1999)




Another concept album, this time of a protagonist in an older setting who was exiled for his lack of faith who returns home after several years seeking closure whilst getting friction from the town council. Opeth's music took an evil, ominous tone from here onwards, with the inclusion of Martin Mendez on bass (the oldest current member of Opeth after Åkerfeldt). This forms the classic Opeth line-up, and in typical fashion, 'Still Life' outshone it's predecessor in all elements. Åkerfeldt grows ever confident in his vocals, his singing the driving force behind the stunning, melancholic 'Face Of Melinda', which opens beautifully and ends on a powerful ending with soaring riffs. Opeth is more focused this time, with songs becoming shorter than in those of their first two albums. Guitar riffing, though not as memorable as on in 'Morningrise' and 'My Arms...' take a turn towards groove metal, perhaps with the increasing popularity of Pantera and Lamb Of God at that time. Still, songs like 'The Moor' and 'Serenity Painted Death' continued in Opeth's vein of progressive black metal tainted with unbelievable emotion. Fans were pleased, critics were pleased, the mainstream took a little notice, that is, until Opeth's next album.


5. Blackwater Park (2001)



A contender for the best metal album. Stunning. Mind blowing. Genre defining. This are tags reserved for the overrated thrash metal albums of the 80s and some classic metal bands like Maiden and Black Sabbath. But nobody expected a quiet metal band from Sweden to come up with such a phenomenal album. Currently Metalstorm.net's best album of all time, on top of Megadeth's 'Rust In Peace' and Metallica's 'Master Of Puppets'. This may seem absurd at first; how many bands actually have influence on as many bands as Dave Mustaine and James Hetfield did in the 80s? This criticism may be a little early. Firstly, 'Blackwater Park' sounds nothing like anything anybody recorded in the early 2000s, not even Opeth themselves. Whilst retaining their classic sound of contrasting dynamics, 'Blackwater Park' showcases perfection in all levels. Not a single second on the album is wasted. Take opener 'The Leper Affinity' for example; it starts off with a single distorted piano note, that bursts into an instantly memorable riff and Åkerfeldt's now perfect vocals, deep, brutal, menacing and without effects, effortlessly fusing the high rasps of black metal and the growls of death metals. The song changes riffs with immediacy and consistent timing, letting each riff sink into your head before logically progressing into the next riff, with guitar solos placed at the most unexpectedly apt timings, before the song slows down to acoustics, which sound random in text but seem perfectly obvious in sound, and Åkerfeldt reveals his new weapon - a beautiful singing voice as if from one of the classic rock bands of yesteryears. He is unrecognizable, chillingly beautiful and lost. He is one with the musical backing, and the song immediately takes a short return to death metal before breaking to a extremely cohesive, groovy, heavy and melodic jam before ending the same way it begins, with slow piano notes that pierce through a fantastically clean production by English progressive rocker Steven Wilson, whose love for jazz and obscure classic rock enshrouds the death metal wreckage of this album. And this is just the first ten minutes of the band. Audible bass, soaring guitar atmospheres, sudden piano notes, perfect vocals and riff after riff that land in the fine line between death, black and groove metal. Opeth mastered the art of transition between contrasting styles on this album, with the random time signature changes in the last four albums replaced by smart progressive bridges that give way to the next almost as if it's the most obvious music change. Top it off with poetic lyrics that are loosely based on the general decadence of the supposed citizens of "Blackwater Park" whilst finding time for an elusive storyline with characters voiced by Åkerfeldt's twin vocals and Wilson's affectionate, high croons (a combo that drives the chorus of the song that made me like Opeth, the ever classic 'Bleak'). Every song on this album is multi-dimensional, be it the Middle-Eastern riffs on 'Bleak', the folk-themed 'Harvest', the groove-oriented 'The Funeral Portrait', the suicidal beauty of 'Dirge Of November' and its intelligent structure, the crowd-pleasing anthem 'The Drapery Falls' or the final, 12 minute magnum opus title track, a track of tremendous power progression even during the brief repetition of acoustic riffs after two minutes, before giving way to a section which feature dual vocal tracks simultaneously running together, an effect usually used by pop stars. The result is a chilling vocal performance that simply increases the intensity of the song before the album reaches it's climax at the nine-minute mark, repeating the previous riff in acoustic guitars before every member of the band plays his part with perfect timing as Åkerfeldt spits forth his most remembered vocal part in an Opeth song 'Sick liaisons raise this monumental mark / the Sun sets forever in Blackwater Park', the guitarists go nuts together for a while before the song explodes and is instantly replaced with a slow fingerpicked riff that fades out. Amazing album and definitely the starting point of anybody interested in Opeth. This album has set the mark for almost all progressive bands in the underground, with Ihsahn, Ne Obliviscaris, Agalloch, Intronoaut, Enslaved, Slice The Cake, Be'lakor and many more following suit of this style.


6. Deliverance (2002)




Not exactly everybody's favourite and a majorly overlooked album that Åkerfeldt himself has confessed to dislike, 'Deliverance' is my favourite Opeth album. Whilst there is nothing much to comment because stylistically there is little change from 'Blackwater Park', 'Deliverance' which is meant to be the heavier twin of a planned two-part album diversifying their contrasting styles, showcases some very intelligent song-writing. Unlike the previous albums that presented itself to the listener with an almost juggernaut amount of elements with increasing build-up, 'Deliverance' presents the chaotic changes and progressions in a subtle, nuance manner, which probably gives an indication as to the apparent inaccessibility of the album. On the other hand, songs like 'A Fair Judgement' are some of the most instant songs ever made by Opeth, and the blues-driven guitar section and the multitude of solos in the middle could give even The Beatles a run for their money, and this is no exaggeration. The tile track features military drumming from the ever improving Lopez, and is up there with 'Demon Of The Fall' and 'Blackwater Park' as the heaviest songs written by Opeth (though the later 'Watershed' blows them away). The last two songs though, with their ever-progressing song structures, intricate riffs and harsh tones, are what I find the album's major strengths. This one album is up to your subjective tastes though.


7. Damnation (2003)




Personally for me, the most overrated Opeth album. This is the softer twin and their most experimental (until 'Heritage'), with no screams, no distortions and no blastbeats. Just. Pure. Acosutics. And. Singing. By no means a bad album, but rather less mature than their other works, probably because of the limitations imposed by the new instrumentation. Still, there is boundless creativity even with these limited tools. For one thing, this album cemented Opeth's proficiency outside the metal genre. Song length is cut down to better accommodate the obvious focus on this album - mellow emotion. Passion overflows from this album, and supersedes the initial monotone of the album. Songs like 'Windowpane', 'In My Time Of Need' and 'To Rid The Disease' feature so much painful angst in their quiet melancholic ways, while songs like 'Closure' and 'Hope Leaves' continue to break new ground for Opeth with their ever expanding musical direction and challenging son structures.


8. Ghost Reveries (2005)




Album number eight is Opeth's first venture on a commercial record, Roadrunner. And fears of a sold out album were immediately assuaged with the first single, 'The Grand Conjuration'. Opeth's change of style was immediately apparent. Featuring clockwork drumming and mature guitar riffs, Martin Lopez and Peter Lindgren give a memorable departing performance. 'Ghost Reveries' features the most accessible Opeth songs ever written, without sacrificing their humble beginnings. The long acoustic passages and electric guitar moments are here, the snarls and croons are here, the intricate rhythms are here. What has changed is their presentation. Whilst previous albums tended to drone on self indulgence, 'Ghost Reveries' meanders through its dense music with urgency and focus. The songs are extremely cohesive, each title presenting itself like a deep chapter of a intense novel. Similar sounding tunes, courtesy of newly added keyboardist Per Wiberg, float and linger around the claustrophobic layers of instruments as Åkerfeldt belts out lyrics that have accumulated poetic beauty over the span of a decade. Indian raagas, Latin drumming, layered vocals, Moog synthesizer solos, pianos and lush, dense atmospheres weave in and out of blastbeats, trademark screams and guitar solos that sound more from seasoned rock veterans like Clapton or Page rather than the usual shredfest from other metal bands. This isn't as much experimentation as it is a refining of the styles achieved in 'Blackwater Park' whilst taking note of the good points of the innovation in the last two albums. Opeth would have a major change in musical style after this album, but this is a fitting bookend to one of the most breathtaking bands in the metal realm. Standout tracks are obviously the opener 'Ghost Of Perdition', the epic 'Reverie/Harlequin Forest' and the emotionally painful 'Isolation Years'.


9. Watershed (2008)




After the exits of guitarist Peter Lindgren and drummer Martin Lopez, ex-Arch Enemy shredder Fredrik Åkesson and death metal drummer from Åkerfeldt's side project Bloodbath, Martin Axenrot are added to the band. This of course means that a general shift in sound will be expected, and the nature of the two new additions predicted that Opeth might drop their progressive sound for a more straightforward death metal fest with the usual shredded solos and bomb blasts. The reverse happened. The album starts off with an acoustic duet, a shocking introduction for a band that is already well recognized for its diversity, with the addition of female vocals at the second half a clear indication that this is a band that will not rest on it's laurels. Right after that, the sound of a vortex almost as if sucking in the chilling beauty of the album opener leads to Opeth's heaviest song. Devoid of even a whisper, 'Heir Apparent' features a band that makes intelligent use of its strengths. 'Heir Apparent' is such an intelligent song and unlike any other Opeth track, it features galloping riffs, Åkerfeldt's most menacing growls, cold blastbeats and even shredded solos, amidst acoustic guitar and orchestral arrangements (what?!). The contrsting dynamics have never been sharper, and the lyrics also become more powerful:

"A burden so great
Weighs heavy on old and withered beliefs
The swift solution crumbles
Beneath the mock notes of a masterpiece
Death in his eyes, waiting
Spiraling judgement, provoked in the rains"

And the song refuses to end this way, choosing instead to slide into a smooth jam that leads to the next curveball, 'The Lotus Eater' which is not only a deconstruction of metal dynamics but of general songwriting. It starts off with a hum, before bludgeoning forth with blastbeats with Åkerfeldt spewing forth not screams but icy cold SINGING, more like a pop star than a rock star. The screams are still there, but the real shock is the middle of the song, where the band members suddenly break off from the song as Åkesson's groovy solo leads to a weird, neo-funk-jazz section that comes out of nowhere. 'Burden' is classic progressive, with soulful singing and fantastic guitar and keyboard solos executed by Åkerfeldt and Wilberg, and an interesting outro with someone progressively detuning Åkerfeldt's acoustic riff. 'Watershed' has numerous minute details like these that add depth to the songs. The opus is of course the Led Zeppelin throwback 'Hessian Peel', a song that continues to push Opeth's boundaries whilst retaining the character of their roots, a rare feat for a band 15 years into their career. As again, Opeth prove to be peerless in their musical directions in an age of similar sounding bands.


10. Heritage (2011)




The album that decidedly chased away fans from the group's catalogue, and one of the strongest albums of last year. 'Heritage' is polarizing because it marks the band's rejection of death metal in it's entirety, embracing instead the progressive elements that have slowly made its way into the band's sound. That does not make it any less complex, in fact, 'Heritage' is dense and possibly more intense than the previous outing. Whilst Opeth albums are generally easy to execute on instruments, the songs here feature more technical elements, with polyrhythmic drum fills and blues guitars and great classical singing. Not sounding like 'Damnation', 'Heritage' explores fingerpicking and progressive riffs in the vein of 70s bands like Camel, King Crimson, Yes, Captain Beyond and Deep Purple, as seen in the unlikely Dio tribute 'Slither' which sounds like it came out of the 60s. Songs have a more gothic feel, and the album revels in its beauty despite its technical accomplishments, which isn't a very far throwback from the previous releases in terms of theme. The album has several memorable sections, choosing the preference for detail executed in 'Ghost Reveries' and 'Watershed' rather than the in-your-face arrangements of the band's past. Repeated listens reveal new elements in the album, especially in the drums department, with Axenrot sounding like he has never attempted death metal drumming in his life with his delicate jazz rolls and fills. This is quite contradictory, an album that showcases tha band's love for emotional depth despite it's almost complete rejection of its roots, which it playfully parodies in its album cover. Love them or hate them, Opeth shows no signs of slowing down with age and maturity. Let's see how the new album will sound and if Opeth have chosen the right path, or if Åkerfeldt chooses to go back to his roots. Standout tracks? Try the whole album.