Alright, brevity seekers. Here's the rub. Embrace the Void, the debut(ish) album from multi-continental death metallers Gravefields, is a damn fine record. Thus, I'll employ a reversal of sorts: let's get the critical stuff out of the way quickly, and then proceed with the pummeling--err, of the good variety.
Firstly, the vocals could stand to rise a tad higher in the mix. And secondly, the runtime breaks the Sleeping Village Rule o' 44. With a sound so gloriously belligerent on the ears, the final few tracks leave less of an impact after Side A's goliathan entrance. Am I nitpicking? Yes. Am I finished nitpicking? Also yes.
Given the convoluted intros that have become a bit of a calling card ‘round these parts, we wizened scribes find ourselves in a bit of a situation here. Here's the rub: Entrenched is an outfit about which I know astonishingly little. No niceties regarding city of origin, or band members, or associated acts. In this sense, unless you’ve seen the gloriously indicative album artwork for their sophomore effort Endless Occupation, the music really must speak for itself.
And to be honest, it doesn't speak so much as roar vivaciously. Entrenched play, for all intents and purposes, a speed and thrash-oriented brand of death a la Demolition Hammer or Morbid Saint. They wear the visceral war-torn trappings of Sodom--take the track titles, which range from the obvious ("Meatshield"), to the goofy ("Goreamedic"), to the exclamatory ("Terrorize the Insurgency")--but yet conduct themselves with the juggernautian bombast of Malevolent Rapture-era Legion of the Damned. Imagine if Merciless or Invasion lost their more overtly frantic edges, and gained instead a Vader-esque sense of (moderate) composure. But yet, these comparisons are imperfect, and despite existing in a fairly well-occupied space, Entrenched are seemingly their own bloody beast, taking the bits that work, but never feeling derivative to a consequential degree. Needless to say, if you want thrashy riffs and endless bullet-belted aggression, Endless Occupation will scratches that itch with...well, take your pick of rusty implement. Rake. Machete. Lawnmower.
At 29 brief minutes, Entrenched present an idyllic neck-whipping package. Vocals bark and growl at a wondrously energetic pace, throwing themselves into the fray with a stoicism that arises from well-conceived confidence. Percussion operates exactly how you might hope: pounding, ceaseless, skull-crushingly relentless. Drummers all-too-oft get the short end of the stake--and particularly so in the case of a genre that is exceedingly riff reliant--but here, the percussion is just too damn integral to not receive a well-deserved spot in the limelight. Entrenched bring solid performances across the board, and that goes a long way to making sure that the more overtly gun-brandishing, bandana-wearing, and otherwise cigar-chomping moments aren’t without an appropriately solid foundation.
Highlight tracks are difficult to determine, as I believe, seemingly paradoxically, that Entrenched operate on their highest level when they slow things down. “Interrogation Chamber,” “Terrorize the Insurgency,” and “Assisted Suicide Enlistment” all demonstrate their keen ability to switch gears, and in a genre based so frequently in balls-to-the-wall wild abandon, this is a prime differentiator. Otherwise, give the title track a listen to see what they accomplish at their most visceral.
Endless Occupation is indeed, as I stated a long while ago, a “wild fuckin’ ride.” This album has occupied my listening rotation...well, endlessly, since it first came to my attention. In a world with a near-endless supply of gore, good riffs, and a delightfully kinetic atmosphere, that's saying something. Highly recommended!
The news-report strains of ‘“From the Graves We March” rise, with staticky dial-up gravitas, above the groans. Without further ado it's officially on: Apocalypse by way of Zombie, the viscerally apropos downfall of humanity as we know it. Is there really any better fodder for a death metal album? I think not, and, evidently, neither does the international two-piece Reign of Terror. Comprised of Jereth Fewings on the instrumentation and Oscar Diaz handling vocal duties, these guys brandish their influences on their sleeves with a forthright pride, citing and recalling their heroes--be it Death, Deicide, or Dethklok, among a host of others--with the glee that one simply can not fake. I mean, just look at the logo. These guys love death metal, and their debut album is a well-conceived expression of said passion.
Decimation of Mankind is defined in many ways by the toilet-gurgle vocal stylings, which will either suck you in or reject you violently, depending entirely on your tolerance for the regurgatorial approach of, say, Aborted, Deicide, or Dying Fetus. In our track premiere for “Sacrificial Slaughter," the expulsive vocal tendencies of Vomitory were brought into play, and that descriptor continues to hold well here. Mr. Diaz displays a balance between gurgles and screams mightily, layering a certain raspy scream that, at it's best, inject a little hardcore ‘tude into the melting pot. While, as a whole, the vocals are improved upon in Reign of Terror’s sophomore release, they are still energetic and remarkably dynamic on Decimation.
Given the prior stage-setting, I hesitate to use the term "clean” in reference to Decimation of Mankind, but no bones about it: this is good clean death metal. Nothing flashy. Nothing heady. Just good ol’ brain-pummeling. As it should be. That said, the majority of the tracks herein are strangely hypnotic--recalling, oddly enough, a darkwave-esque sonic quality. Dance With the Dead comes to mind, in terms of the lurching riffs that ebb and flow, typically muffled and subdued by the sheer force of the vocals, but occasionally forthright in a show of primal ferocity.
This album is stuffed to the brim with fun moments. Take the simple yet invigorating buildup on “Thy Savior is Thy End,” which never fails to elicit an ill-advised neck whipping. The eventual tempo changes on this track do wonders to avoid stagnation, as do the electronic leanings on “The Plague”--one of the albums more intriguing moments. “Machine of Vengeance” is an absolute goddamn barnburner, rivaled only by its immediate follow-up in terms of violent zeal. “Creation Breeds Decimation” is a stellar track, grinding and driving with assertive abandon. Here, the Reign of Terror formula operates at its best, as the vocals, guitar, and percussion mesh together in a relentlessly satisfying sense. Tracks such as this demonstrate that at their best, Reign of Terror are genuinely following--and filling--the footprints of brutal death's giants. Tying things up with an intestinal bow, the album ends off with the purely atmospheric church bell ringing of “...And to the Graves We Return.” While outros are largely unnecessary, it works in Reign in Terror's benefit to bring the overall narrative to a satisfying close.
From a needs-improvement standpoint, there are several aspects of note. The first--as is often the case when this particular villager turns a critical eye--is song length. This particular brand of death benefits from punchy runtimes, and with multiple songs stretching across the 6 and 7 minute marks, a trimmed refrain here or there would serve each track's individual impact. As a result, the album’s back half--home to some of the shorter tracks on display--is the more impressive. The vocal cadence is another sticking point, as a similar chanting rhythm appears enough times across the album to become overly familiar. That said, in both cases Reign of Terror's sophomore effort is a giant step in the right direction. Self correction in practice.
Bottom line? These guys aren't revolutionaries of the death metal scene by any means...but this is death metal, after all, and the vast majority of the time all we're looking for is a neck-snapping good time. To this end, Reign in Terror deliver in spades. And if you’re a fan Decimation, fear not: they release new music on a ridiculously impressive timeline, and, as mentioned, their follow-up, entitled Revolution Through Violence, is already out. Listen to "Thy Savior is Thy End" below:
This review is brought to you courtesy of a good friend of the Sleeping Village--the one 'n' only Brian from Metalhead World. If you aren't familiar, MHW is swiftly becoming a top-notch hub for underground metal reviews, interviews, news, and other assorted miscellany. If you happen to stumble over there after imbibing deep of 1782's doomy offerings, we certainly wouldn't mind. Without further ado:
1782's single "She Was A Witch" caught the attention of a lot of people and swept the doom metal scene like a storm. In the 4 months since, 1782 was quickly signed to Heavy Psych Sounds, released two more singles that introduce their fuzzy riff driven sound and a theme of evil and macabre. It all culminates into the release of 1782's self titled debut.
I awaited this album since it's announced production. I can honestly say that when I first heard the first single, I was so taken aback by it (in a good way), I thought it might be a side project and Scott Ian would have a "gotcha" moment on the album premier. I jokingly expressed this to Marco Nieddu (24moons / Raikinas), the mind behind not only 1782, but also popular doom metal indie label Electric Valley Records, who assured it was the real deal.
The story behind the band name is as follows: In 1782 Anna Goldi was condemned and was subsequently tortured and killed in the process. Anna Goldi's case was the last known Witchcraft trial documented in Europe.
So you know what 1782 is about. How about the album?
As the intro sets the theme of a dark bonfire with church bells (all sounding very authentic), "Night of Draculia" kicks in with a nice fuzzed blend, yet it sounds very crisp. The groove in the breakdown of this and Marcos' distorted vocals set the tone of this album perfectly, but when you hear "The Spell - Maleficium Vitae", you get grabbed and sent strait to hell through the rest of the entire album and you feel it strait to your soul. When the chanting kicks in on The Spell, you realize the energy in this album is effective. And maybe at one point, it might even be a bit much for those that aren't evil purists at heart who might see this as a classy, yet more evil efforts some may have heard in regards to music dealing with the occult.
And that is a bold yet genuine statement from this writer. I personally loved every moment.
We get a cleaner and more polished version of "She Was A Witch" with guest Gabriel Fiori of Black Rainbows which I thought turned out exactly like it should. I was wondering how this would turn out and I was very satisfied with the result.
"Black Sunday" has a riff where the pitch bends, and give a nice demonic sound.
"Oh Mary" is a single many already know. This to me was what set the tone as far as what 1782 is about. With the lyric video you get the idea throughout this album of 1782 doing a show in this very setting. Very classy. Very vintage. Very occult-ic. And the sense of evil is welcoming instead of fearful.
The album closes out with the tracks "1782" and "Celestial Voices," which go out in true fashion for the band. With a hooky and groove driven riff and dark wavering organs straight from Mother Earth herself, this predominant two-song instrumental leaves one last carbon footprint of energy that leaves you wanting more after seeing what this two piece outfit is truly capable of. It just feels good and releasing. These are the type of songs that you would spend alone time with that evil demon of a human in your life.
With the hallmark Sabbath-laden riffs that we have come to know and love, some innovative songwriting (that bass outro in "The Spell"), vocals strait from Satan himself, and percussion beating like a wild heart, 1782 takes it way further than I expected. The songwriting accomplishes everything it was setting out to do as far as the energy involved with an album such as this. Marco did a fabulous job in every step of this masterpiece.
Marco doesn't get all the credit as Gabriele Fancellu played a significant role in providing a wide array of drum work that I would compare to Mark Greening as far as style is concerned. This truly adds the element of magic in this album. Gabriele's efforts on this album is appreciated as it would not be nowhere near the same feel without it.
I thought the self titled Black Sabbath track was one of the creepiest, scariest, dripping with evil, tracks that contained yet a certain type of class and sophistication in the song. I can honestly say 1782 may in the running with this entire album.
The thing about 1782's album, though, is that it's not just an album you play like you would Slipknot or even classics like Pantera. This is an album you listen to at night, preferably early morning, candles lit, lights dimmed or off and just let the energy this half hour album gives take hold and release your inner demon.
As a sobered collective of secularists, the Sleeping Village wouldn’t typically welcome a High Priest into our midst. But here we are: praising, with undisguised zeal, the latest effort from these Chicagoan doom-slingers. Such is the power of the riff. High Priest's forthcoming Sanctum is a wondrously enjoyable release, and we’re honored to spread the good word.
Sanctum is an addictive 4-track slab, a well-conceived coagulation of influences. Promo material cites Alice In Chains, Pallbearer, and Trouble, while additionally recalling the group’s genesis at an Electric Wizard show. These are bold comparisons for an untested crew...but comparisons with which I am very much inclined to agree. While the downtrodden AiC style vocalizations and the swirling Wagner-esque compositions are spot-on, I’d argue that High Priest occupy a surprisingly subtle spot in the doomverse. While undeniably (and characteristically) riff-centric, no track here even begins to feel weighed down or drawn out. While melancholic and sorrowful, Sanctum never wallows or loses its delightful dynamism. And while approaching, at times, NWOBHM’s trademark melodic drive, it never feels excessive, nor does it fly off the rails with reckless abandon. In this sense, High Priest demonstrate the genre-melding abilities of Valkyrie, or perhaps even Desolation-era Khemmis. It’s hard to bring something new to the doom game, but High Priest feel remarkably unique in their tempered approach. Bottom line: this EP displays a very modern edge while simultaneously illustrating a variety of sounds that helped define doom and sludge. Not, my friends, a bad place to be.
Sanctum kicks of with the excellent Descent, which remains, to this Villager’s ear, the best thing these guys have ever written. Here, High Priest is firing on absolutely every cylinder. Militaristic drums, decidedly soulful vocals, expansive-yet-immersive riffs that weave and meld with confidence. The twin guitar approach rips with power and precision, and the chorus is an absolute beast. Descent is on course to become a contender for most played track o’ the year, and for good reason.
Beyond this unabashed display of prowess right outta the gate, Creature and Paradigm reinforce initial assumptions. That is, High Priest know how to write a compelling song. As alluded to before, there is little space for stagnation. The tastiest licks and most rollicking riffs are afforded the perfect amount of time in the spotlight. And while that’s all well and good, the latter track, in particular, displays some notably fantastic work in the percussive department. For a band and genre that inherently places such (deserved) emphasis on the guitars, it’s genuinely wonderful to hear such a strong showing from the drummer. Truly a standout performance. Closer Offering, while displaying a certain Troubleing vibe and strong dynamism in the vocal delivery, does feel a tad long. Given otherwise impressive fat-trimming chops, the back half here does feel slow in comparison. As a whole, however, we’re left with a very well executed package.
As riff-worshipers, you and I are walloped with a lot of doom on a daily basis. Keeping that in mind, it’s fair to say that High Priest are going places. Sanctum comes highly recommended. If you need some convincing, listen to Descent below: