Soreption – Monument of the End (Technical Death Metal)

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I’m going to be honest, Monument of the End has been one of my most anticipated tech-death albums this year together with Revocation and Beyond Creation. As a Swede Soreption have always been extra close to me and even though I wouldn’t exactly call them top tier versus the likes of, well, Revocation and Beyond Creation for example they have released two really solid albums with Deterioration of Minds and Engineering the Void. Since their latest release Engineering the Void a lot has happened within the band though. The four-piece that had stayed the same since the creation in 2005 went down to two original members as Rikard Persson (bass) and Anton Svedin (guitars) are not a part of Soreption anymore. Now we enter a new era of Soreption with Mikael Almgren and Kim Lantto on guitar and bass respectively.

The line-up change has definitely shaken things up as Soreption are now closer to the mighty Swedish giant Meshuggah or Decapitated in the chuggy groovy riffing on tracks like “The Anti-Present” and “King of Undisputed Nonsense”. Whereas on “Nothingness Becoming” there are some The Zenith Passage vibes on the intro. A fitting step for the band in my opinion. Add the fact that a lot of things seems to have leveled up a notch. Fredrik Söderberg has his best vocal performance to date and Tony Westermark is as good on the drums as he has always been. The album also contains one of the best songs the band has released in the closer “The Entity”. There are a few negatives though, for one the album is a bit short. They could, and should, have had a couple more songs as 33 minutes is on the short side of a full-length. I also feel they do the same trick with the tempo changes and riffs a few times too many on Monument of the End which lowers the score somewhat. The album can become a bit dry after several playthroughs due to this.

All in all this is another solid album from Soreption, a new beginning for the band where you can hear how the band is transforming, evolving into something new with the new blood. They aren’t fully evolved yet (this isn’t even my final form!) but they are on the right path. It didn’t fully live up to my hype but I am not disappointed either. It’s a different Soreption and while I think this is their best album to date they got things to improve on in order to hit the highest of tech-death tiers. Tech-death fans who like it a bit groovy will have a good time with Monument of the End though that’s for sure.

Label: Sumerian Records
For fans of: Decapitated and The Zenith Passage
Release date: August 3rd, 2018
Favorite song: The Entity
Score: 3/5

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Hadal Maw – Charlatan (Technical Death Metal)

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Hadal Maw was a new name to me, I honestly only first heard of them when I saw they were going on an Australian tour with one of my favorite bands Archspire and Psycroptic. Hadal Maw was created in 2010, hailing from Australia, released their debut album Senium in 2014 and has since been met with acclaim from fans and critics alike. Making it rather annoying for me personally that the band had gone completely under my radar for all these years. The name Hadal Maw originates from Hades actually. As Hadal Maw is the name derived from the Hadal zone, a delineation for the deepest trenches in the ocean (taken from metal archives). The latest release Olm, only a year old, was just as their debut met with only positives so with that in mind I was really hyped to review their third offering Charlatan prior its release.

After having had some great time with their past two albums to get ready for Charlatan I quickly realized how Hadal Maw does not simply stick to one sound, they have a core sound sure but they evolve with each album. Pushing their own boundaries and I admire that. Hadal Maw are a technical death metal band to the core but the influences are many. Even within the techdeath realm it can differ from Meshuggah, Beyond Creation to Gojira. Not only that though, Hadal Maw got a darkness in their music that goes beyond techdeath and more into the blackened death or black spheres. This is where Charlatan comes in. Charlatan is by far the darkest album Hadal Maw has done to date, getting closer to the mighty Behemoth than ever before. Hadal Maw does follow in the same path as Olm paved for them (which is very different from their debut) but as I said this is even darker, more atmospheric.

I see this album in many ways as Gojira and Meshuggah  have a meeting with Behemoth in the sense Hadal Maw’s technical death riffs and vocals draws some parallels to Gojira and Meshuggah while the atmospheric and dark feeling that clouds Charlatan is more of the Behemoth style of things. It’s a good match and whereas I thought Senium was more standard techdeath both Olm and Charlatan stands out with a more unique style. Charlatan is a great next chapter for Hadal Maw, a fitting successor to Olm where you can see the band elevate their sound yet again. The album has been a real grower to me. At first I thought it was a bit too slow for my taste in techdeath but after awhile I get sucked into the atmospheric side of it and the album as a whole is a pleasant experience that differs from your common Beyond Creation or Necrophagist clones (which I to be fair like a quite fair share of too haha).

This is an album you might not grasp of fully enjoy at your first visit but give it time and you will come to love it. Charlatan is also one of those albums where it is hard to pick just one track from as the album is meant to be experienced as a whole in my opinion. Whereas I’ve missed Hadal Maw in the past I now welcome them into my metal life as a sweet fresh new techdeath breeze in this hot Swedish weather. One can only wonder if Hadal Maw can go even deeper in that ocean to create more fine offerings to the metal world.

Label: EVP Recordings
For fans of: Behemoth and Gojira
Release date: August 3rd, 2018
Favorite song: Charlatan I The Grand Serpent
Score: 4/5

Mordant Rapture – The Abnegation (Technical Death Metal)

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Ah The Artisan Era, a label that just keeps giving good tech-death to the world and they’re always improving by adding more and more great bands to their roster. Now enter Mordant Rapture and their debut EP “The Abnegation”. Is it yet another great release from the label or have they, for once, taken a misstep?

Reading the history of the band and how their debut got created is one that tells the tale of years of hard work, gallons of coffee, sleep deprivation, and doubts. The competition in this day and age is fierce so I can really relate with many bands having the same process before releasing something. The band started in 2013, which gives you an idea how long it’s taken the band to finally feel ready to release their first EP featuring five songs into the world. Was it worth the wait?

Yes, yes it was. One thing I really like with Mordant Rapture’s style is how they try to captivate a cinematic musical experience, somewhat in the veins of Fleshgod Apocalypse or Carach Angren. The sound is very different from those bands though as this is straight up technical death metal with a lot of symphonic elements to it, think Inferi (this is much better in my opinion though), Enfold Darkness or Spawn of Possession as examples. Already on the first track “Unsightly Beast” you get a flurry of great riffs, solos and get an instant feel on what Mordant Rapture are all about, delivering class symphonic tech-death heavy influenced by the grandiose nature of film scores. Meaning in other words this is epic stuff, who doesn’t like well written film scores? Having that as an influence in the technical realm of metal works great, it’s not something new but it’s not something I hear too often either. “Withered” is a shorter song than the opener, this is way more of a heads on approach and on this track their blackened death and black elements shine as you hear influences from both Emperor and Dissection. Great stuff right?

What cinematic album wouldn’t be complete without an intermission track with piano and violin, adding to the atmosphere for the follow-up track? That’s exactly what “A Plea Above Ashes” is there for and while I would want it to smoothly transition into the next track, it doesn’t which makes it feel a bit out of place to me. That also leaves the only negative part on the album for me. “Quell the Voiceless” brings up the pace, where the drums especially gets me going and are really dominant. This is also the track that I feel showcase all Mordant Rapture tricks on their debut. The symphonic elements, blackened tech-death, crushing drums and thundering riffs are all there at once to make it a go to song for me when I go back to “The Abnegation”. The finisher “Natal Trophies” is the longest and most symphonic track on the album, which just like the last scenes in a movie ends in an epic way. Here the vocals are better than ever where a wider range of growls and techniques are used. A great way to end this 22 minute journey into the world of Mordant Rapture which makes me want more of this.

Hell I love this music. It’s not something that breaks the boundaries of tech-death but this is insanely well produced symphonic tech-death that has very few flaws in it. Mordant Rapture displays great musicianship and a great range of aspects to their music. This is the kind of music that will make you miss Spawn of Possession and Necrophagist less or you Inferi fans out there forget they even existed. That’s something very few does on their debut album and I can only hope an upcoming full-length won’t take five years. The Artisan Era has done it again, adding a new band to their ranks that shows how hard work pays off. “The Abnegation” is not only one of the best debut albums of the year but one of the best releases overall.

Label: The Artisan Era
For fans of: Enfold Darkness and Spawn of Possession
Release date: July 13th, 2018
Favorite song: Quell the Voiceless
Score: 4.5/5

The Metal Gamer Top 30 albums of 2018 so far!

The Metal Gamer Top 30 albums of 2018 so far!

Am I missing any albums? Do you agree?

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The bands and albums featured are:

Sadistik Forest – Mordbid Majesties
At The Gates – To Drink From the Night Itself
Amorphis – Queen of Time
Nekrokraft – Servants
Necrophobic – Mark of the Necrogram
Rivers of Nihil – Where Owls Know My Name
LIK – Carnage
Gluttony – Cult of the Unborn
Totalselfhatred – Solitude
Svederna – Svedjeland
Svavelvinter – Mörkrets Tid
Avslut – Deceptis
Skeletal Remains – Devouring Mortality
Raven Throne – I miortvym snicca zolak
Skinless – Savagery
Unflesh – Savior
Demonical – Chaos Manifesto
Immortal – Northern Chaos Gods
Gaerea – Unsettling Whispers
Depravity – Evil Upheaval
Alkaloid – Liquid Anatomy
Begat The Nephilim – I: The Surreptitious Prophecy / Mother of the Blasphemy
Kataklysm – Meditations
Ingested – The Level Above Human
Organectomy – Domain of the Wretched (went off the Unique Leader Records release)
Arkona – Khram
Watain – Trident Wolf Eclipse
Augury – Illusive Golden Age
Mordant Rapture – The Abnegation
Chelsea Grin – Eternal Nightmare

Unflesh – Savior (Technical Death Metal)

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It’s been some time since I listened to technical death metal actually, at least a couple of months when the Inferi album dropped. Don’t know why I waited so long to listen to Unflesh as “Savior” has been out since May 25th. Here we are though and I’ve finally given the album a few spins during the week. Lets start with some background on Unflesh, who are they? The band is located in USA and began as a solo project in 2014 by Ryan Beevers. The first album, an EP named “Transcendence to Eternal Obscurity”, came out in 2016 and featured Hannes Grossman (Alkaloid, ex-Obscura) on session drums. The EP got a lot of praise when it came out so this debut full-length has had some hype to it. What’s changed since the EP is that Unflesh has gone from a solo project into a fully fledged band where Ryan added Peter de Reyna on bass, Chris Dovas on drums and Chris Gardino on guitars. Has this change elevated Unflesh game to new heights?

What struck me first is that the influences are many on “Savior”. While it is at its core a tech-death album that will please fans of Arsis, Alterbeast and Revocation there are also loads of elements gathered from the melo-death and black metal genres. You can hear hints of The Black Dahlia Murder, Naglfar, Dissection and even Emperor throughout the album and that’s exactly what makes Unflesh stand out from most bands out there. It’s a pure joy to give this albums several spins and each time you notice something new, getting that feeling when you have a hard time picking your favorite song on the album as it keeps changing with each listen. It is that good. Personally there are only a handful of albums that’s better than “Savior” this year. If it hadn’t been for the insane release of Rivers of Nihil I would say this is the best tech-death you will hear this year. However when many will undoubtedly name Inferi, Alkaloid and Augury (all good releases mind you) as tech-death albums of the year I will name-drop Unflesh. A modern tech-death release with a touch of the old school, what’s not to like?

A splendid EP became an even better full-length release once Ryan got his band together. Unflesh is a band on the rise that can battle with the best of them already. The “Dissection goes tech-death” approach is one I can get behind and fall in love with. This is an album that will land high on my yearly best of list.

Label: Independent
For fans of: Dissection and Arsis
Release date: May 25th, 2018
Favorite song: Caliginous
Score: 4/5

Abolishment of Flesh – The Inhuman Condition (Death Metal)

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A new challenger has entered the death metal stage and they are looking for the abolishment of flesh. Hailing from Texas, USA, the band was founded in 2006 but under the name Abolishment. The debut came out 2008 and was named Abolishment of Flesh which later on became the bands new name after numerous member changes. Meaning even though this is Abolishment of Flesh debut album the foundations were there already in 2006. Nowadays the band consists of two members, Ramon Cazares on guitar/vocals (while recording drums and bass as well) and Izaak Chaves on guitar.

Alright this album is one I find very strange to review. Want to know why? It’s due to the fact it is very inconsistent. A reason for this is that they are a bit all over the place and with various results. Abolishment of Flesh showcase a wide range of different styles be it technical, brutal, melodic and classic death metal, which is good however I can’t help to think some of these tracks are somewhat of a snooze fest. They can go from an absolute killer track to one I just want to press skip on. The vocals is one of the things that does that to me. I say keep the brutal growling, let go of the screeching vocals as when that comes in it kills some songs for me as it feels out of place. In “Inhuman Anatomy” it works fine but on the follow-up “Lack of Emotions” I would much rather they’d left it out and the song overall leaves a bad taste in my mouth. It’s the same way when listening to Cattle Decapitation though, the vocal style doesn’t always work for me and I am really picky when death metal switches style like that. Which is a big shame because when Abolishment of Flesh get it all going they are incredible and provides some of the best extreme metal I’ve heard all year.

You have your classic Suffocation sounding tracks like “Morbid Imagery” that provides solid death to the masses, your massive guitar solos with some Dying Fetus vibes on “Servitude of Endless Suffering”. Then you got my personal favorite “Slaves of Animosity” which is simply a monster of a song that’s doing a great job showcasing the bands melodic and technical side, yet keeping it brutal. Almost a bit like older In Flames, which is probably why I really enjoy it. Tracks like those proves the band got diversity, can play both polished melodeath and the more extreme kind with ease when it works which alone keeps the score on a good level. I just hoped the album was more consistent as the duo are definitely talented musicians that can produce some pummeling headbang crazy material. All in all this is a debut album and it sure got me interested in the band. I will follow the band closely, looking forward to hear what they come up with next. Who knows this might just be the first stepping stone into greatness?

Label: Unholy Anarchy Records
For fans of: Suffocation and Cattle Decapitation
Release date: April 20th, 2018
Favorite song: Slaves of Animosity
Score: 3/5

Inferi – Revenant (Technical Death Metal)

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It’s been a lot of tech-death for me this month and while I got the heat up why not keep going? From Rivers of Nihil to Augury and now Inferi there’s definitely been some hyped up albums coming closely after each other. While Augury presented a great comeback into the scene Rivers of Nihil dropped one of the best albums of the year. Question is what does Inferi have in store for us?

I am going to be honest, I’ve found Inferi a bit overrated and never truly understood the hype this band has. In my ears they’ve been a more technical version of The Black Dahlia Murder to dumb it down. Which isn’t bad in any way but me not being too keen on TBDM either it just doesn’t work as well with me as it does for many others. Inferi is tech-death but they go a complete separate way than the likes of Beyond Creation or Obscura does, which in all honesty is a good choice and makes them create their own sound which is more similar to Arsis. That’s exactly where it all “went wrong” for me too as I am a leaning a lot more towards Beyond Creation than Arsis for example. Here is the funny thing though that made me start to change my mind on Inferi. With last year’s TBDM album I started to get a liking for Trevor Strnad and the way they play melo-death, making me spend quite some time with the bands discography last year. Now when I get Inferi’s latest offering Revenant I all of a sudden get it. I can now get behind and dig to these vocals I had such a hard time listening to in the past. The more I listen to the album the better it gets which in itself shows I am changing my musical taste somewhat. This happens every know and then in all honesty, just five-six years ago I couldn’t stand black metal if it wasn’t very symphonic or melodic and I still listened to metalcore. Now I can put on a Darkthrone album and actually enjoy it while I dislike most metalcore, times change and taste in music change, some gets better some gets worse.

Revenant is in many ways a complete album. The nine songs are all really solid and blasts you with jaw-dropping riffs regularly while at the same time changing the pace from brutality to melodic tech-death when needed. I am still not a true believer of the core sound Inferi represents but hey if I’d review this album two years ago I would give it a very average score, while now I find them being a band where I can put their albums on a spin every now and then. It’s hard not to get captivated by the relentless assault Inferi offers and fans of the band might even call this the album of the year. Who knows I might too in the end if it keeps on growing on me and I will change this score to something higher.

Label: The Artisan Era
For fans of: The Black Dahlia Murder and Arsis
Release date: April 21st, 2018
Favorite song: The Menacing Gaze
Score: 3.5/5