by Chris Wheeler | Nov 21, 2013 | Critiques d'Albums
Abnabak
« Under the Mask of Humanity »
Self-Released/Independent
2013
When Scandinavia bolstered the misanthropic art of grim Black Metal in the early nineties, many fellow alumni from far and wide began to develop their own brand of noise, complete with influences native to their own culture. Abnabak from Morocco is one such band which has taken the aesthetic and had firmly planted their seed with premier album, “Under the Mask of Humanity”, out now.
Being shrouded in relative obscurity, not much is known of these dark souls. They aren’t even inducted into Metal-Archives.com! “Lo-fi , cold and remorseless” can easily describe essentially what Abnabak have contributed to the genre. “Hate” uses some of the depressive, drone work of bands such as Krohm, Judas Iscariot or Xasthur. Although, not very technical, the song structure boasts repetition to allow for gloom to properly sink in as shrill vocals overlap mid-paced melancholy. “From War” also displays a strong penchant for the morose; however the sound is slightly more threatening in nature and includes an underlying hostility throughout.
“Misanthrope” and “There is a Period to Everything” both share similar attributes, but add touches of hectic fury in their drumming and tremolo guitar picking. Structurally, they offer more variety, style-wise and run the gamut of rhythms and pacing which only benefit the album as a whole.
Abnabak’s, “Under the Mask of Humanity” does exhibit many commonalities with other grim, “necro” sounding bands but what the album may lack in originality, it makes up for in conviction and quality. Well played and easy to listen to, the Moroccan troupe has released a debut that may stoke the fires if they have the foresight to distinguish themselves on future releases.
Standout Tracks: “Hate”, Misanthrope”
7/10
by Chris Wheeler | Nov 18, 2013 | Critiques d'Albums
Impiety
« The Impious Crusade »
Hells Headbangers Records
2013
Sometimes the farthest reaches of the globe garner some of the most brutally intriguing Metal acts you will ever hear and leave you wondering, “What do they feed these people”? Singapore’s Impiety are just such an act, delivering a steady blend of blackened /death thrash since their inception back in 1991 with their first rehearsal demo. Fast forward to 2013, and the band have returned with an ep of sheer chaos, “The Impious Crusade”.
Intro, “Arrival of the Assassins” sets the tone as disjointed rhythms reign and complex riffs defiantly declare that this is to be a “no frills” album! To accentuate the point, “Commanding Death and Destroy” “Accentuate the Annihilation” and the title track, “The Impious Crusade” all live up to the album’s name. With the exception of the latter, the songs herein rip with such determination and force that it leaves the listener with an unabated feeling that they’ve just gone to war! Both spastic and unnerving the only respite is “The Impious Crusade” itself, as the band slow the assault to a mid-paced clamber, introducing melodic tremolo picking sounding almost middle-eastern but menacing all the while. Album closer, sees the Singapore trio attack Sweden’s Sorcery with their version of “Lucifer’s Legions” which is a perfect inclusion to the bands already caustic repertoire.
“The Impious Crusade” may not set Impiety apart from the other legions of Black/Death bands sporting cut off denim and thrash patches, but with this ep, the band firmly maintain their rightful place among the very best. If you like the Metal stylings of Belphegor or Australia’s Bestial Warlust, then this ep may be your gateway to Impiety’s rampageous world. Go forth and conquer!
Standout Tracks: “Accelerate the Annihilation”, “The Impious Crusade”
7.5/10
by Chris Wheeler | Nov 1, 2013 | Critiques, Critiques d'Albums
Aeternam
« Moongod »
Galy Records
2013
With Quebec’s cornucopia of vast talent emerging to define “Quebec Noir”, or bands that showcase an adept pedigree for technical brilliance, one band stands apart in combining originality, foreign influence and extraordinary musicianship. Aeternam, from Quebec City, sees a young band following their own path on this their second album, “Moongod”, out now on Galy Records. Emerging in 2010, the band has quickly garnered an audience by thinking outside the “proverbial” box and with said album stand poised to leave listeners happily aghast! What is striking from an initial listen is the juxtaposition between stylized American Metal riffing and cinematic Middle Eastern tinges. Moongod, Rise of Arabia and Descent of Gods all demonstrate the band’s propensity for grand symphonic soundscapes while guitars weave modern Metal complexity. In addition, the record sounds like the band have followed the Behemoth way of attacking their instruments as heard on monstrous tracks, Invading Jerusalem and Xibalba and to tumultuous effect! Though not entirely “brootal” production wise, the blasts recall the ferocity and malicious intent of the Polish warlords.
However, the album does offer other facets that are less sonically abrasive. Cosmology, Iram of the Pillars and Idol of the Sun seem to have borrowed from the soulfulness of Orphaned Land, replete with rousing clean vocals, vast choirs and ever so delicate Arabic flourishes, including periodic sitar! Complimenting the more aggressive shades of the album, these dramatic shifts are brilliant in pacing the album and offering the listener more than merely “playing one song” for an hour or so. Closer and perhaps the album’s masterpiece, Hubal, Profaner of Light manages to blend the best of both sides of the coin in one stirring track and can undoubtedly stand up to the likes of Melechesh or Nile!
A gem amongst Canadian Metal acts, Aeternam have checked all the right boxes with “Moongod” by adhering to their own convictions. Choosing to firmly ingratiate themselves with a truly unique sound and influence, Aeternam never sound redundant or cliché but instead offer fans an album that will charm as well as destroy!
Standout Tracks: “Iram of the Pillars”, Cosmology, Invading Jerusalem, Hubal, Profaner of Light
9.5/10
Chris
by Chris Wheeler | Oct 24, 2013 | Critiques, Critiques d'Albums
Hail of Bullets
III: The Rommel Chronicles
Metal Blade Records
2013
Marching across the Netherland sonic landscape, Hail of Bullets sounds the trumpet blast of war in this, their third album since 2008’s ….of Frost and War. This new one, which came out on October 29th, III: The Rommel Chronicles, picks up right where previous albums have left off. Not a band to typically compromise their sound or lyrical slant, Hail of Bullets displays a staunch penchant for slow, martial riffs that visually paint a bleak picture to the War themes they so loyally admonish. This album is no different.
Swoops of the Falcon bursts through the gate with their trademark guitar tone assault, mid-paced crunch and is a juggernaut of a track setting the bar high for the rest of the album. Continuing the barrage, Dg-7 begins with a caustically slow crawl only to pick up the tempo for added momentum. Here guitarists, Baayens and Gebédi showcase some incredible dual guitar harmonies that really set the song apart along with Tobruk, which features a similarly strong opening and chaotic “Slayeresque” solo.
If there’s anything that really characterizes that strength of III: Rommel Chronicles, it’s the razor sharp guitar patterns that heavily weigh in on most songs. The Desert Fox is a definite highlight with its memorable triplet main riff set against Ed Warby’s pounding drums and Martin Van Drunen’s dry, husky throat, while The Death of a Field Marshal is a slow, ballad-like dirge, wounded in its delivery and dying slowly to close the album. Another superb anthem, this song will snap heads to and fro as horns are held high in reverence!
If you’re a fan of Hail of Bullets or are familiar with bands prior to their inception (ie, Thanatos, Asphyx, Gorefest, Comecon, Pestilence) then you know what to expect. Drawing heavily once again on groove and monster riffs, III: Rommel Chronicles will not turn heads by way of reinventing the « Death Metal wheel » but will satisfy fans who have grown to love that signature crunch, that signature vocal and that signature hellfire! Metal Blade Records released 2 weeks ago a lyric video for Swoop of the Falcon after releasing the single Pour le mérite in September as a teaser for the album… but they’re not my standout tracks.
Standout Tracks: Dg-7, The Desert Fox, The Final Front, The Death of a Field Marshal
8/10
Chris
by Chris Wheeler | Oct 22, 2013 | Critiques, Critiques d'Albums
Brutality
« Ruins of Humans » EP
Ceremonial Records
2013
In the early 90’s, Florida was the epicenter for the rise of U.S. Death Metal as local upstarts, Morbid Angel, Obituary and Death, among others, found notable success worldwide. However, there existed other bands who might not have gained the recognition they merited next to such legends. Brutality, from Tampa Florida, is one group who penetrated the market with three potent albums of sheer savagery, Screams of Anguish in ’93, being a bona fide classic!
Twenty years later, the quintet is back with a new ep, Ruins of Humans! Not since 1996 have the band released a new full-length (a shame) but nonetheless, this two song set proves they have not lost a beat! Not since Screams of Anguish released back in ’93 have Brutality sounded this brootal and poised to leave their mark in 2013! Spanned a whopping 8mins, Ruins of Humans recalls exactly where the band were musically when they began their career, but now have significantly improved song arrangements and all around performances.
Beware the SOLOS!!!! Masterfully done, Gates and Fernandez, just shred/squeal all over the place while Irreversibly Broken cools the pace down slightly to display that Classic warm feel of ugly, dense Death! Perhaps, slightly less “busy” than Ruins…, the song does manage to bring back feelings of old, when fans were first treated to this new extreme genre of underground Metal which we all have grown to love. Brilliant and uncompromising « Brutality »!
8.5/10
Chris
