Serocs – The Phobos/Deimos Suite (Brutal Technical Death Metal)

a1532976555_10

Serocs were formed in 2009 as a one-man project by guitarist Antonio Freyre who released two EPs and a full-length while going solo. With the release of The Next in 2013 Serocs turned into a full-scale band but have since had a hard time with finding the right line-up. Fast forward to 2018 and we got a new edition of Serocs, one featuring members from Chthe’ilist, First Fragment, Funebrarum and Benighted. Not bad right? With that much talent in one line-up I was hyped to see what the fourth full-length offering from Serocs had in store to me.

Want gnarly riffs, blasting drums and meaty bass play? Then Serocs got you covered big time. Hell, right from the bat with the opener “Being” you get a nice Halloween treat of everything. This is how to open a album showcasing your skills the best way possible. You know what the best part is? It doesn’t stop there! Every single song features more of those sick and twisted solos, even more relentless drumming and blazing bass. You simply can’t get enough of it and with great songwriting going hand in hand with this fantastic display of musicianship The Phobos/Deimos Suite quickly turns into a album of the year contender. So which bands would I describe Serocs draw influences from? Well think of the brutality Cryptopsy along with the technical aspects of Spawn of Possession and Gorguts and you’re getting there. In all honesty I think Serocs are the perfect candidate to take over the crown from Cryptopsy of the brutal tech-death masters once they call it quits. Really impressive stuff and Serocs have now got a perfect line-up together who I hope stays for future albums too. It’s consistent with a ton of energy, fun, that’s full of variation which separates it from most music within the genre.

It may have taken Serocs a few albums to get here but with The Phobos/Deimos Suite they’ve created an album most bands can only dream of doing. I am actually in awe of how good this is, even after having had the album on repeat for a couple days I still find something new and keep on changing what my favorite track is (which does in the end fall on “Deimos”). You’ve probably explored hell many times before through music but this is one journey there where you don’t want to miss the ride. Add the incredibly beautiful cover art which makes me think of the underrated horror game Layers of Fear and you got yourself a complete package, a true masterpiece, which is not something I say often.

The Phobos/Deimos Suite is one of the best releases you will hear all year with enough brutality and technical aspects to make you want to go back to this record many times, should be an instant buy for any fans of the extreme music. You will see The Phobos/Deimos Suite fighting for the album of the year title here on The Metal Gamer that’s for sure. Everlasting Spew Records ends this year really strong having released the latest albums by Infuriate and Serocs, both which I think are among the top tier brutal releases of 2018.

Written by J.B.

Label: Everlasting Spew Records
For fans of: Gorguts and Cryptopsy
Release date: October 26th, 2018
Favorite song: Deimos
Score: 5/5 Masterpiece

tmg_score_5_0

Advertisements

With All My Hate – Dehumanized Depths (Brutal Death Metal)

a0023380877_10

I’ve had way too few brutal death metal albums coming my way this year (big hint) so whenever I get the chance to I am all over a promo with that genre label slapped on it. All My Hate is Oscar Company’s solo project, which isn’t too common in the brutal death metal world. When I went through the discography I thought the debut was a rather weak one but grew a bit on the sophomore album. While the addition of Seyerot (Carnivorous Voracity and Harsh) on vocals for this album is for the better, there are still some issues on Dehumanization Depths.

There are quite a few nice ideas on Dehumanization Depths but they weren’t executed properly all the way through. The album goes by without making any lasting impressions on me in the end. Even with some killer riffs and gutturals it is all over the place with the mixing which destroys the overall experience. I do have to give the band credit on trying to go their own way of creating brutal death metal. The technical aspects along with the sick and twisted atmosphere the album lays out are really good in theory, if only the mixing and consistency were with it… It doesn’t cut it though which is a real shame because this could have been a nice entry to the scene but now I doubt I will even remember this album by the end of the year. Slight improvements on each album though and even if I do ramble on about negatives in this review I do think Oscar is on the right track, the vocals are miles better than on Deed of Voracity for example. If they get the mixing right next time around you will see With All My Hate on the right end of the score spectrum. There is something brewing here that can become greatness in the end, just not this time around.

Written by J.B.

Label: Amputated Vein Records
For fans of: Catastrophic Evolution and Carnivorous Voracity
Release date: September 7th, 2018
Favorite song: Dehumanized
Score: 2.5/5 Decent

tmg_2.5

Beyond Creation – Algorythm (Progressive Death Metal)

a1335889393_10

When one of your favorite bands release a new album you know the hype is real. It’s a double edge sword though because when you’re that hyped and have the bar set so high as Beyond Creation the backlash if the album doesn’t live up to the high expectations will hurt a lot. I can calm you all down already by saying it lives up to the hype.

It starts off with an epic intro that could easily be in a sci-fi movie as it moves into the Entre suffrage et mirage. A good opening that ends with a great solo, so we are off to a good start but it didn’t have those transitions I want in Beyond Creation. Surface’s Echoes I think is a bit out-of-place with its intro but around one minute in I recognize the core Beyond Creation sound and it becomes a better track than the previous. I’ve always felt that for Beyond Creation to get the most out of track they need to be 6-7 minutes long, which this one is and it makes the band being able to change the tempo and sound a lot during a song, letting it unfold as its meant to. It’s one of the bands strong-points to me, how a song can feel so complete and have all these different elements to it which some bands need a whole album to do. They show a lot of this on Surface’s Echoes, even though I can’t get the first minute of the song the rest is gold. Finally with Ethereal Kingdom you get the whole experience, an intro that sets the tone nicely leading into a beautiful solo and it feels more complete. It also transition really nicely into Algorythm which together with The Inversion are my favorite songs on the album. They showcase what Beyond Creation is all about in a good way. One may say Algorythm lacks a standout track like Earthborn Revolution or Coexistence which in some ways is true but I feel with time Algorythm will be one of their most memorable tracks. It grows on me with each listen.

Algorythm as a whole is a more progressive experience than their earlier albums, for the good and bad that brings. There are some moments that’s a bit slow to me due to this change but at the same time I don’t mind this at all as a whole. It’s definitely a bit different though but with the core Beyond Creation sound of course. They haven’t gone and switched completely but you should be ready that this is a bit of a change in style from The Aura and Earthborn Evolution. All in all Algorythm won’t be my first choice of album when I look back at Beyond Creation’s discography in the future but it’s yet another solid album from a band that set the bar insanely high on the debut. Their skill is showing throughout in both songwriting and instrumental excellence. While it’s not perfect (I think Earthborn Revolution is a perfect album mind you) it’s a well executed album that’s a must have for prog/tech-death fans all around. Beyond Creation doesn’t let you down.

Written by J.B.

Label: Season of Mist
For fans of: Obscura and Augury
Release date: October 12th, 2018
Favorite song: Algorythm
Score: 4/5 Incredible

tmg_score_4_0

Soreption – Monument of the End (Technical Death Metal)

35881911_10156682013508028_8361653871877029888_o

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

Hadal Maw – Charlatan (Technical Death Metal)

a1418120256_10

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)

a0659781495_10

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?

topsters2 (1)
 
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