Barshasketh - Sitra Achra

Todestrieb Records 2013

 

1.Sitra Achra 2.Malaise 3.L'Ange du Meridien 4.Bitter Sagacity

5.Sonnets To Orpheus 6.Leaden Horizon 7.Schlußstück

 

Classical guitars introduce first track 'Sitra Achra' in quite a strange fashion as they sound a little different to what you would expect from acoustic guitars on a black metal album, but maybe that’s the intention, to be different. It's not long before the bleak black metal music opens up in a depressing malaise, slow, mournful and tortured would probably describe the music best. It's quite a strange opening track which is comprised of three elements; the acoustic classical guitar intro, the slow mournful middle section and then ending on an almost progressive note, with the guitar work sounding quite unconventional and not sitting particularly well with the rest of the song. It's not until 'Malaise' spews forth its brutal, raw and hateful black metal that musically we're in more familiar territory. Snarled rasping vocals belch their hateful rants, the drums blast unmercifully at full speed whilst the buzz-saw tremolo picked guitars really set a blistering pace. Variety is added pace wise when the track slows to an almost Burzum-esque crawl which really adds an epic edge to the song and the main riff used is extremely catchy, whilst remaining full on black metal. The songsends on a real high, returning to the hellish blast beat filled sections with some excellent guitar harmonies to be heard, again, catchy bordering on the epic. 'L'Ange Du Meridien' is another extremely catchy and memorable track with high end tremolo picked guitars and raging drums providing a brutal yet mournfully atmospheric soundtrack. As ever, the harsh snarling vocals are there, almost in the background bellowing hate and disgust. Again, if comparisons were needed, then musically newer Burzum would be not too far off the mark, Barshasketh opt for a bit more melody to their sound with the production being the right side of 'raw' without sounding purposely shit. 'Bitter Sagacity' really punishes once more, more hate-filled black metal played at break neck pace which makes for a really savage offering. There really isn’t any let up in the pace of the track, its blast beats all the way which accompany melodic, yet savage black metal guitars. As the song draws to a close, the pace is relinquished and the mid-paced epicness returns. Again, the riffs used to end the track are amazingly catchy and this is epic black metal at its best. 'Sonnets To Orpheus' is the longest track of the album, clocking in at almost eight minutes but its one of those tracks that doesn’t feel too long or that has been written this length on purpose just to impress. This is such an impressive song, so emotional and atmospherically epic it really is excellent. Different paces are used well, ranging from a doomy crawl packed full of bitterness and anger all the way through to the hyper fast blast beat filled sections. Very impressive!

'Leaden Horizon' is yet more of the same, following on masterfully from the previous track. As is becoming the norm, there really isn’t any let up, this is black metal at its most dangerous, its sounds absolutely deadly yet still manages to retain its sense of melody through the fast guitar work. The vocals are especially stand out, rasping and snarling throughout the entire album, its a cliché but they are hate-filled, full of scorn and bitterness, as you would expect. What sets the band apart from many black metal bands around today is when the pace is dropped right down; the epic atmospheres they create are ice-cold and mournfully epic – and catchy! The Kvlt may not enjoy the word 'catchy' for a black metal album, but this really is. It's a fucking 'joy' to listen to, another word not normally associated with black metal. Final track 'Schlußstück' is testament to the bands ability to slow a song down to allow the menacing atmosphere to draw the listener in to the hatred, the first two minutes of the track absolutely punishing. The song then breaks out into the faster pace which really builds the track up into a frenzy. As the song slowly draws to a close the pace is dropped once again which allows the epic atmospheres to really build the tension and end things on a high. Again, its amazingly catchy, its epic and its a fitting end to a stunning album. Barshasketh have released an amazing black metal album, packed full of harsh atmospheres with melodies that are instantly memorable and catchy. Used a lot in this review, 'epic' best describes much of this album. The musicianship on show is first rate and its not an over exaggeration to say that this is some of the best black metal i've heard for quite some time. Originally from New Zealand, but now based in Edinburgh it might explain the fact that the bands brand of black metal is quite unique for these shores and is why this album comes very highly recommended.

 

9 out of 10

Scordatura - Torment Of The Weak

Self Released 2012

 

1.Necromantic Disposition 2.Visceral Disembowelment 3.Neurotic Aberattion

4.Torment Of The Weak 5.Back To Crack 6.Incestual Convulsion

7.Sutured Flesh 8.From Chin To Hole

 

As is so usual for a death metal album, Scordatura have chosen to go down the 'Horror Movie' sampled intro which rather than sounding old and cliched actually sets a really foreboding atmosphere and introduces the music to 'Necromantic Disembowlement' very well. Their sound is influenced massively by U.S Death metal with heavy as fuck guitars accompanied by some really frantic drumming. Musically there is a real groove to the bands sound, especially when the pace is dropped to a slower, sludgy crawl. They do mix paces well, moving from slower sections all the way through to rabid blast beat laden passages which gives the band a sound not unlike U.S veterans Malevolent Creation. 'Visceral Disembowlement' follows and opens up in a barrage of blast beats and follows on in similar fashion to the opener, mixing paces well with the groove based death metal at the core of the bands sound. As the track develops the pace is dropped somewhat, the band preferring to utilise the slower themes which actually gives the song a really morbid sound. 'Neurotic Aberation' has a much more frantic feel, jumping crazily all over the place without losing its heavy death core. A relatively short song it ends on the frantic theme and jumps perfectly into title track 'Torment Of The Weak' which carries on the crazed and frantic sound. The song has a real sense of urgency to it and sees the faster blast beat sections being introduced in short, sharp bursts before returning to the slower, groove laden heavy death metal sections. Another relatively short track it is over in a flash.

'Back To Crack' is another slower to mid-paced track which sees the U.S death metal influence in full swing, pinch harmonics prevalent as are the comparsions to Malevolent Creation once again. Dipping under the three minute mark, its another short, sharp lesson is bludgeoning death metal that leaves you pummelled into the ground. There is no let up in the barrage as 'Incestual Convulsion' blasts straight in and once again its another absolutely pummelling track that gives the listener little respite from the sonic mauling Scordatura are dishing out. 'Sutured Flesh' carries on the theme heard in the six songs before it but with a much more old school death metal feel to it. Vocally the majority of the album has been filled with guttural death metal vocals that have been accompanied with the higher screamed style sporadically, but here vocalist Daryl mixes the vocals a lot more. Dual vocals are used throughout much of the song which although nothing new, really adds a new edge to the bands sound, giving them an almost 'deadly feel. Last (bonus) track 'From Chin To Hole' ends this debut album extremely well, utilising all of the bands influences and sounds heard throughout the seven previous tracks very well. The track ends with an almost 'epic' feel to it, the guitar harmonies used to end things start to  become extremely catchy. It has taken these Scottish bruisers some time to release their debut album, but the wait was most definitely well worth it. From start to finish this album batters you into submission with its (musical) chewed up bloody stump. Heavily influenced by U.S death metal, it shows a band that have produced a fantastic death metal album and whilst it may not be anything completely new, the intensity and heaviness captured within all eight songs is more than enough to make this album stand out. Brutal, intense and pounding, this album was worth the wait and comes well recommended.

 

7.5 out of 10

Reflection In Exile - The Insufferable Darkness

Self Released 2012

 

1.Disarray (Intro) 2.The Insufferable Darkness 3.Astray From The Light

4.The Blackened Standard 5.The Decaying Process

 

Short intro track 'Disarray' sets a gloomy and morbid atmosphere and introduces 'The Insufferable Darkness' perfectly. Blasting open furiously in a storm of melodic, yet vicious blackened death metal there is a really 'big' sound to this monstrous opener. Extreme metal titans 'Behemoth' immediately spring to mind, especially vocally with the dual vocals being unleashed with absolute spite and malice. Musically there are comparisons to Behemoth as well, the band moving from faster blast sections down into the slower more morbid passages extremely well; proving they are able to mix and utilise tempos and styles very well rather than just blasting from start to finish. As the track draws to a close there is a melodic 'strings' section which introduces 'Astray From The Light' very professionally. This is another monster of a track with the hate-filled dual vocals once again being used heavily throughout and as before tempos are mixed well. When the song does slow down, there is a really epic feel and sound. There's are real 'tightness' on show which is testament to the bands abilities, obviously accomplished musicians and well practised with their chosen instruments.

 

'The Blackened Standard' follows on in seamless fashion and begins life in really brutal fashion, there’s an extremely fast tempo set to the opening riffs here. The song does then drop the pace, but not for very long which ensures the momentum created at the start of the song is not lost. There's a slightly less black metal edge to the guitar riffs here, death metal the more prevalent influence and sounding quite similar to Germany's Dew Scented. Definitely the stand out song so far! There's no time to draw breath as 'The Decaying Process' ends this short e.p. Again, there are huge 'Behemoth' comparsions on show, especially when the music drops off and the dual vocals are left to their own devices, to spit yet more malice and hatred from the speakers. As with the previous three songs, tempos have been varied well. There's never any real 'mid-paced' sections, its either one or the other with these lads, fast blast sections or slow, monstrous and heavy as hell sections, which to be fair works very well. Only four tracks on offer, but what great tracks they all are. Yes, there are obvious comparisons to the Polish gods of death/black extremity, but Reflection In Exile have managed to show off their influences without becoming a copycat and unoriginal band. As mentioned previously, the musicianship is first rate, with the band showing a real degree of technical prowess underneath all the brutality. Refreshing to hear from a young UK band. Four tracks of technical and brutal extreme death/black metal, 'The Insufferable Darkness' is an outstanding e.p that shows a band with huge potential to go onto bigger and better things. This release was free with Terrorizer Magazine, so many people reading this will have already heard it. If you haven’t, get a copy, you will not be disappointed. Highly recommended

 

8.5 out of 10

Featured Band - Dead Aeon

 

Ireland's Dead Aeon have recently released their debut e.p. 'Apotheosis', featuring five tracks of scathing blackened death metal. UKEM decided it was time to get to know this relatively young band a bit better.....

 

For those unfamiliar with the band, please give us a brief history of the band?

Dead Aeon are a blackened death metal band from Monaghan, Ireland. Formed in mid 2008, the band began as a cover band. After extensive gigging across the country, establishing ourselves as a band that could execute covers with precision, we started work on our own music. We recorded our debut EP, entitled “Apotheosis” in July of 2012 and released it on the 24th of November of that year. We have been constantly gigging across the country to promote “Apotheosis”, playing with world renowned acts such as Anaal Nathrakh (UK) and Christ Agony (Pol), as well as the country’s biggest metal acts such as Warpath and Putrefy. “Apotheosis” continues to get outstanding reviews and due to the success of the EP, we shot official music videos for the tracks “Rise To Power” and “Mass Culture Theory” that have collectively gained over 4000 views.

 

Introduce us to each of the band members!

Jack Penders - Vocals

Chris Winsryg - Guitar

Dan Doherty - Bass

Evan McGuigan - Drums

Who came up with the band name and what is the influence behind choosing such a moniker?

It was our drummer Evan, who came up with the name Dead Aeon. At the time of choosing a new band name, our music was getting noticeably darker and dirtier. We wanted a name that would portray and mimic the darker side of music that we were going for and Dead Aeon fit that perfectly.

 

You have recently released your debut e.p 'Apotheosis', how has this been received so far?

So far the EP has been received with much praises. We are immensely proud of it and the reviews we have received are very encouraging.

Musically, who influences you, if anyone at all?

Individually we all have our own influenced but as a band, our main influences would be the likes of Decapitated, Behemoth, Gojira, Meshuggah and Enslaved.When it comes to writing we like to blend our collective influences and churn out something different. We strive for the combination of power, groove, speed and atmosphere.

What themes and topics do your lyrics deal with?

On the "Apotheosis" EP, the lyrics are predominantly anti-religion and anti-oppression. In future songs we'd like to expand our lyrical themes and cover subjects like the human psyche and even environmental issues.

Composing songs can often be a frustrating process, how do you go about it?

Our guitarist Chris writes the bones of each song, constructing riffs and various structures. We then bring them into the practice space where everyone has an input as to how the song should go or whether anything needs changed. In the past we have learnt that trial and error is the best way to write a song, so every idea we have, we attempt.Due to this, we feel the final product is as good as it can be, which is exactly what we strive for.

What could we expect from one of your live performances?

We put everything into our live performances, whether it be in front of 10 people or 100 people. Whatever the situation we give it our all.

We have received a reputation for being a formidable live band and we our very proud of that.

 

Plans for the future?

We are currently writing the material for our next release, which we hope to record next year. We are also looking at playing shows in mainland UK late this year or early next year. We are hoping to expand our fan base to more than just Ireland. Achieving a following in mainland Europe would help us achieve our goal of becoming a full time touring band.

 

What merch do you currently have available and where can we get it?

Currently at our Big Cartel, accessible through our facebook page, we have our EP on sale. We also have a limited edition "Rise To Power" T-Shirt available to preorder.We hope to be adding more to our store in the future.

 

Any final words?

In the next month or two Dead Aeon will be releasing a couple of special tracks, recorded recently, so keep an eye out!

 

Self Released 2012

 

1.Omnicide 2.Mass Culture Theory 3.All Shall Fade

4.Rise To Power 5.Veins Of The Earth

 

Ireland's Dead Aeon introduce their debut e.p 'Apotheosis' in a vicious assault of blackened death metal with opener 'Omnicide' spitting scornfully out of the speakers from the instant the disc starts spinning. There are underlying tones of melody to the bands sound, being very Swedish black/death metal in it's delivery. Harsh scathing dual vocals are delivered with pure malice over the top of some very well played blackened extreme metal. Although brutal, this opener sees a mix of paces being utilised, the song remaining mid-paced throughout much of its duration. Blast beats are used, and used well, but they never overpower the song. The opening signs are good for the remainder of this disc. 'Mass Culture Theory' bursts open in another Swedish inspired black/death metal assault. The pace to the opening riff quite frantic. The song then takes on a really menacing sound, with the pace being dropped right down which allows a brooding atmosphere to develop the song and sets a really dark tone. The guitars do sound a lot more sinister here but do still retain their sense of melody which gives it that 'swedish sound' and the darker atmospheres are retained well. As with the opener, tempos are mixed well, faster blast beat laden sections are introduced, but used sparingly and only when necessary. 'All Shall Fade' begins as the last track left off, a slower pace being used, the darker sound being utilised well. There is an almost 'Orchestral' feel to the opening riffs of this track, sampled orchestra instruments (wind instruments and kettle drums) being used alongside the guitars which is actually very similar to Abigor, even though the band don't actually sound like them. There's a similarity in the use of the orchestral sections, nothing more than that. Through the use of the higher end tremolo picked guitars and sampled orchestral instruments, Dead Aeon take on a much more black metal feel here and given the fact this track is the longest on offer, it only adds to the more black metal feel and sound.

'Rise To Power' begins with the slower, darker, more brooding sound heard earlier but this doesn't last long, harsher blast beat sections are introduced to add pace and inject a bit of urgency into the song which to be fair is needed. The band are definitely at their best when they up the pace, sounding an altogether more menacing band when they do. Having said that,when they do drop the pace and allow the dark atmospheres to envelop the songs, there is a real originality to their sound, especially when the orchestral samples are then introduced. Final track 'Veins Of The Earth' is another dark and brooding affair with tempos snapping from blast beats down to a slower crawl in an instant before introducing the more mid-paced atmospheric sections, a mix of everything heard so far. This definitely sounds like the closing track of the e,p, there's a sense of foreboding, feeling and sounding like this piece of music is going to be the last thing you hear on this miserable earth. A sense of trepidation, that something nasty is building. Dead Aeon have produced a very impressive debut e.p. They have taken quite a while to get to this point, but good things come to those who wait. Some of the atmospheres created are remarkably unique, utilising the 'orchestral' sampled sounds very well which only adds to the dark and menacing sounds being created. There are a variety of influences on show, Swedish death/black metal being the over-riding sound with tempos and pace also being varied well and this will probably appeal to many an extreme metal fan. Well played extreme black/death metal with a menacing undercurrent of hatred and anguish, 'Apotheosis' is a valiant effort that definitely deserves your attention.

 

7.5 out of 10

 

Band Page: Here

 

 

Celtachor - Nine Waves From The Shore

Self Released 2012

 

1.The Landing: Amergin's Conquest 2.The Battle Of Tailtin

3.The Kingdom Of Bodh Dearg 4.Sorrow Of The Dagda 5.Tar Eis An Sidhe

6.Conn Of The Hundred Battles 7.Annan: Ermme's Daughter

 

As opening track 'The Landing: Amergin's Conquest' slowly gathers momentum the pacey black metal leads the track, with not much of the bands folk element to be heard so far. When Stephen's harsh screamed black metal vocals are added, this only takes the bands sound further into the melodic, yet harsh black metal sound. It's only with the introduction of the whistles further into the track that you can begin to appreciate the other side to the band, namely their folk and Celtic musical inspirations which really sit comfortably amongst the heavy black metal music. There's a massive hint of groove in the guitar work as well which really gets the head nodding, especially when the haunting sound of the whistles are added. It builds quite a unique atmosphere. It's good that the band has decided to use the whistles sparingly, not over-burdening the song. 'The Battle Of Tailtin' begins in similar fashion to the opener, heavy yet melodic guitar riffs really give the start to this song an epic feel. It's almost like you could ride into battle listening to this, sword aloft charging at the enemy. The song does actually break out into a whistle and drum interlude with the sounds of battle in the background, swords clashing and warriors screaming. Very short, but very apt given that the song the returns to the epic sound heard earlier. Tempo wise, its slow to mid-paced which suits the overall sound and groove to the guitars. Blast beats just wouldn't do the music justice at all. 'The Kingship Of The Bodh Dearg' is a little different, beginning with a whistle and drum introduction. This is where the Celtic/Folk element to the band is undoubtedly in full flow and this theme is continued throughout much of the track, especially the whistles which tend to take a leading role here, being used as leads almost (where most metal bands would use lead guitars/solos). For the most, a slower pace is utilised well and again, the groove to the heavier rhythm guitars remains black metal, but set to a slower, almost doom like pace. This pace is also well suited when the whistles are introduced, allowing them to build the haunting and enchanting atmospheres.

Acoustic guitars introduce 'Sorrow Of The Dagda', building the tension of the song nicely which allows the heavier black metal styles to come bellowing in brilliantly. Musically, this track is as Black Metal as the band has sounded so far, there seems to be a real harshness to the riffing and the vocals are definitely delivered with more spite, anger and hatred in them. This also works well when the whistles are added sporadically, very different musical entities being brought together very well. As before, the pace is again slowed right down and as before, this slower paces works well, adding a really epic feel to proceedings. There is almost a sense of despair, a sense of loss and grief to this track, definitely one of the more sombre moments to this album. 'Tar Eis An Sidhe' acts as a melodic interlude, acoustic guitars taking the lead and being accompanied by the whistles every now and again. As a stand alone piece of music it works very well, providing something slightly different from the rest of the album. However, when brought into context, as a song on this album, due to the stripped back nature and simplicity, it lasts for a very long time (nearly six minutes), maybe a bit too long.

'Conn Of The Hundred Battles' is a very groove laden affair, some of the guitar riffs having an almost 70's rock sound to them which might not sit too comfortably with black/folk metal fans but to be fair,the groovier sections do sit well in amongst the more black and folk metal orientated guitar work. And the screamed vocals obviously ensure that the song does remain extreme. Closing the album is 'Anaan: Ermnes Daughter' which is a really epic sounding track and a great way to end proceedings. The pace upped slightly to give this final track a real sense of urgency. And even when the band drops off the pace, the epic nature of the music keeps your attention. Celtachor have certainly succeed in mixing paces and styles brilliantly, moving from the faster mid-paced sections to the slower, more epic doom sounding styles well and this makes for an extremely entertaining album. There are as many folk elements to this album as was expected, whistles are used throughout but in just enough measure so as not to over-power the songs and take the attention away from the bands brand of black metal. Folk metal may not be to everyones taste, but Celtachor keep their music well into the melodic black metal genre and thus will not alienate fans of black metal with the 'Folk' tag. Nine Waves From The Shore proves itself to be an extremely well written, well played black/folk metal album which is packed full of atmosphere and emotion. An enjoyable listen which should be considered if you're 'after something familiar, but also a bit different', it comes well recommended.

 

8 out of 10

Cruelty's Heart - Rex Anglorvm Saxorvm

Wodfreca Records 2012

 

1.Rex Anglorvm Saxonvm 2.The Blood of the Wyvern

3.Haraldr Sigurðsson 4.Over the Rainbow Bridge 5.A Ship Bound for Thule

6.In King Hroðgar's Hall

 

From the opening riffs of 'Rex Anglorvum Saxorvm' there is a real sense of bitterness and despair as the harsh, yet tuneful guitars tear open, accompanied by Bloodletter's scathing screamed vocal delivery. In amongst the mournful passages are scattered some very brutal, blast beat heavy sections that are a full on black metal assault on the senses. When this opening track does slow for the chorus sections, the sense of despair returns with an extremely melancholic atmosphere being produced. There is also an underlying folk element to the guitar riffs, almost Mithotyn like in their delivery and sound. Being a one man band, drums have been programmed and its actually a joy to hear drums that sound 'realistic' with a great production that suits the black metal style of playing brilliantly. As 'The Blood Of The Wyvern' slowly comes to life there is an impending sense of doom before all hell is unleashed in a barrage of harsh black metal. Melody is once again introduced through the use of acoustic guitars which are layered over the main riffs. This makes for a good break in the song especially as these sections are accompanied by the harsh vocals, sounding slightly Immortal, but only very slightly! Musically, Cruelty's Heart are some way off the Norwegian black metal titans. We're even treated to some 'Maiden-esque' dual lead guitars which, for all the harshness of the black metal on offer, fits in very well as there is always an underlying sense of melody to the bands music. The track slowly draws to a close utilising more of the Maiden style of riffing and lead guitar work.

'Haraldr Sigurðsson' is another slower, melodic affair with more of the Maiden guitar work introduced. Spiced up with the harsh black metal vocals it's a partnership that works really well, the combination of the melodic music and harsh screamed vocals combining perfectly. The track suddenly breaks for the introduction of a very melodic, acoustic section which is only short, but adds variety to the song and is extremely atmospheric and very black metal in delivery and composition. If comparisons were needed again, then Immortal wouldn’t be far off the mark. Continuing the melodic and acoustic theme, 'Over The Rainbow Bridge' begins in such fashion, acoustic guitars are backed up by some simplistic drum patterns, there to keep the time more than anything else. But in all fairness that’s all that is needed. Harsher guitars and vocals then pour scornfully from the speakers, returning the listener to the more familiar black metal. The pace is kept to a minimum here, the atmosphere being created more than enough to keep the listener engaged with the song. The slower guitar riffs are an unusual combination, having an underlying folk element to them but also sounding similar to early Emperor style riffs. Here though, its a combination that works very well! 'A Ship Bound For Thule' opens up with a more traditional sounding, tremolo picked black metal riff before the song then breaks away into more melodic and slower guitar work. No need for faster, blast beat heavy drumming here, the morbid atmospheres, the sense of loss, the sense of pride more than enough to carry the song. What is enjoyable is the fact that a lot of the time you can understand certain words and lines from the lyrics, Bloodletter telling tales of Anglo-Saxon history, of times now past, mere folklore now brought to life through the bands music. This is an absolutely epic song, dripping atmosphere and played/sung with absolute conviction. The lead guitar/harmonies providing a spine tingling atmosphere that really captures the imagination – Definitely the stand-out track of the entire e.p based on the atmosphere it creates, the emotions it stirs. Closing proceedings is

'In King Hroðgar's Hall' which sees a return to the more traditional black metal sound, in terms of pace and delivery. However, melody is never far from the bands sound, the song breaking out into yet another acoustic and melodic section being accompanied by whispered vocals which only adds to the atmosphere being created. This is probably as melodic as the band have sounded so far but don’t let 'melodic' put you off as its all about the atmosphere here, as is black metal generally, be it as heard here, melodic, or a harsh blast beat deadly delivery. The song does return to the harsher black metal sound with some more epic riffing. As the song slowly draws to a close, the acoustic guitars take over to end the track superbly, giving the e.p a very mournful sounding finale. In summing up, I think its going to be fair to say that Cruelty's Heart have produced an absolutely amazing piece of music, sounding fully original and full of conviction. The dense atmospheres really draw the listener into the bands world with the harshness of the black metal really adding to the overall appeal of this release. It's another black metal release which really stands head and shoulders above a lot of release out there and coming from one man, it's testament to Bloodletters ability to write a worthwhile song. Harsh black metal that oozes atmosphere and has a melodic, folk inspired musical core, this is about as good as it gets and is yet another release that (if your a BM fan) should be on your “to get” list. But hurry, word is there aren’t many copies left available to buy. Comes extremely highly recommended

 

9 out of 10

Decimation - Bound For The Chamber

Self Released 2012

 

1.Utter Chaos Reigned 2.Desiring The Dead 3.Ineffective 4.Depopulate

5.Revulsion 6.Expelled To The Furnace 7.Bound For The Chamber

8.Honour Killing 9.Degrade The Body 10.Paraphilia

11.The Proliferation 12.Slave To Faith

 

Review by Chris

 

Smashing straight in with frantic guitars and blast beat laden guttural nastiness, Cornwall's Decimation show from the outset of 'Utter Chaos Reigned' that they aren’t here to take any prisoners, rather pummel your head in right from the beginning with this, their début album. There's no let up at all, American influenced death metal ala Malevolent Creation blasts mercilessly at quite a pace, mixing mid-tempos with all out blast beat heavy sections perfectly. 'Desiring The Dead' follows on in suitably brutal fashion, there’s an absolute torrent of blast beats on offer which really give the band that killer edge and is where the band sound at their best and most deadly. They’re not afraid to add melody into the mix either, through the use of guitar solos which have a very traditional sound which suits the brutal death metal of the rhythm guitars very well. When the band slow the pace, its pinch harmonics all the way, giving the song an even more American death metal sound and feel. There's a real sense of urgency to 'Ineffective', beginning as it does in the slower mid paced territory before opening up in a brutal salvo of savage blast beats. As heard in the previous track, guitar solos are used to great effect, slowing proceedings down slightly and giving the listener time to gather breath before the faster blast beat heavy sections are re-introduced. 'Depopulate' is another bruising song, the pace and sense of urgency more than retained to once again make for an extremely well constructed and well played slab of brutal death metal. The band actually sound a lot like German death/thrashers 'Dew Scented' here, the style of riffing deployed would not sound out of place amongst one of their albums. The production to Decimation's album is actually very similar to 'Inwards' by Dew Scented, so if you own that album, have a listen and you wont be far off the mark with Decimation. 'Revulsion' continues the theme heard in the previous track, the American brutal death metal style beginning to take a back seat to the more European style of death/thrash metal, again Dew Scented instantly spring to mind, melody becoming far more prevalent, but used at faster paces which makes for a great sound.

'Expelled To The Furnace' mixes U.S and European styles of death metal really well, the brutality of American death metal with the added melodic death/thrash of European extreme metal works well; snapping from all out blast beat heaviness, to the slower more technical sections. It has to be said, the further into this album you listen, the more the band sound like Dew Scented at their most brutal, which is not really a bad comparison is it? Vocally there is variation, the main guttural death metal vocals are the prevalent style, but when the harsher screamed vocals are introduced, it makes for a good change in style and adds variety to the album. Not that there needs to be much added as there is a lot going and its all really well played, the songs being very well constructed and sounding surprisingly original and interesting and very entertaining. Title Track 'Bound For The Chamber' is a short sharp lesson is brutal death metal, a whirlwind of frenzied blast beats and even though its well over three minutes long, it passes in lightning speed and is over before you know it and next up is 'Honour Killings' which slows the pace right down for the most but which never loses its intensity and the track then finishes in a barrage of blast beats and manic riffing. 'Degrade The Body' is yet another punishing song which mixes tempos and styles and has quite a technical sound and style to it, choppy riffs stop and start with great precision giving the band an extremely tight sound. 'Paraphilia' sees the band return to the European death/thrash sound used earlier and again the band chop and change from slower sections through to mid-paced and into faster blasting sections in an instant, Andrews drumming a particular highlight here, he sounds like he's giving his kit an absolutely monstrous beating.

'The Proliferation' begins so intensely, there's no let up in sight and we're now on the eleventh track, Decimation never sound like there waning or adding in album fillers, every track so far has been massive, fucking absolutely pummelling the listener and leaving them for dead, the aggression captured in the music is second to none. Closing this 43 minute monster of an album is 'Slave To Faith' which more or less utilises everything heard so far, paces chopped and changed, differing styles of death metal mixed well to create another well played, well constructed piece of brutality. The American style of death metal being the predominant style used to end this album, and what a fucking album it is. It has taken Decimation along time to release their début album, but it is definitely worth the wait. The band have obviously wanted to hone their skills as song writers before unleashing the brutality onto an unsuspecting underground scene. Brutal death metal that absolutely goes for the throat from the outset and never really lets go, loosening its grip slightly in places to let you draw breath before re-affirming its deadly hold. Its pure brutal death metal from start to finish, well played, interesting songs that pack such intensity that you really don’t want the album to end. A stunning, intense and massively brutal début album that comes extremely highly recommended.

 

8 out of 10

 

Band Page: Here