Blaze Of Perdition have been in existence since 2007, since then the Polish band have released 4 albums. The first, Towards The Blaze Of Perdition was released in 2010. The 4 piece have a reputation for producing good, melodic black metal in the style of Dissection or Watain, and are an important band on the Polish scene. So, does album number five bring more tuneful, melodic Black Metal? Well, no. The band have decided to move away from their jet black roots, and have got a little bit more creative. Although there are Black metal parts to several of the tracks on offer here, the overriding feel of the album is a mix of Gothic and Occult Rock.
The album opens with Suffering Made Bliss, which begins with a blast beat and tremolo picked riff that is melodic Black Metal, however about halfway through we get a slower, more dramatic section of Occult Rock. The tempo is slower, there is even a groove to it, albeit a fairly dissonant one, and this continues till the end. Next up is With Madman’s Faith which has a very Gothic feel to it, in fact I found it to be quite reminiscent of Sisters Of Mercy, there are pulsing bass and drum lines that could have been written by Andrew Eldrich and Doktor Avalanche. Transmutation Of Sin has a blast beat opening, but very quickly goes over to an uptempo Occult Rock style that works very well, the pacing is great, loads of energy. Królestwo Niebieskie is slower Gothic Rock, but has loads of atmosphere, and a melody that sticks in your head. The song has a blast beat and tremolo picked ending, but still packed with melody. What Christ Has Kept Apart starts as melodic rock but builds in intensity until it reaches full on Black Metal ferocity. The softer parts of the song have some very effective layered parts.
The last 2 tracks on the album are pure Gothic/Occult Rock, so no Black Metal elements, but they are such good songs, you don’t really notice. The Great Seducer is melodic, with a relaxed tempo and a really great bluesy solo. The album is brought to an end by the track Moonchild, which is a mid-paced stomp of a track with a stunning chorus. The Sisters Of Mercy influence is apparent on this track as well, and is a great way to end the album. The Harrowing Of Hearts is a great album. If you were expecting another melodic Black Metal album you’ll be disappointed; but that disappointment won’t last long, once you’ve heard this album you’ll be glad they took a risk. This reminds me a little of Cloaks last album The Burning Dawn, in that this is a sound that has grown out of Black Metal, but has gone beyond the confines of that genre. This is an album packed with great songs, great melodies and brilliant choruses (you could land a Great White with some of the hooks on this album). Blaze Of Perdition have taken a risk with this album, I for one am very glad they did. 8/10
Diabulus In Musica: Euphonic Entropy (Napalm Records) [Alex Swift]
I’ve made no secret of the fact that I love music of a theatrical and experimental tone. I’m forever praising ambition and decrying its absence. Diabulus In Musica represents that sense of grand majesty, taken to its extremes. The entire experience is an utterly immersive voyage into the imagination of four musicians with a zeal and passion for the orchestral, scale and grandiosity. Not an instrument feels wasted in creating a cadence that rivals the latest determinations of more well-known symphonic acts – at least outside of their native Spain, where they’re apparently the most famed. I must admit that upon my first few listens, I was overwhelmed – however, at the time of writing I’m five full sits in, and showing no signs of ceasing my immersion anytime soon. A Lucid Chaos – the title of which eloquently describes these compositions, precedes the haunting and ethereal tone of the record, bringing in luscious, flowing strings, to accompany the traditional Spanish elements in the vocals. From the outstanding nature of an intro track of all pieces, we move into the kaleidoscopic and multi-colored Race To Equilibrium - where towering, histrionic choir melodies climb and ascend to the tune of the rushing violins and gigantic horn sections.
Melody wise, Zuberoa Aznárez absolutely kills, constantly changing her vocal melodies to meet the majesty of the instrumentals. Her voice is almost operatic in tone, yet also soothing and relatable - an element demonstrated by the epic guitar-led Nuevo Rumbo, where she retains the coarseness to compliment the aggression on display, yet retains a wonderful melodiousness and grace throughout. Also, the decision to make songs in their home language of Spanish: beautiful touch! The Misfits Swing proves a jaunty vaudevillian danceable number, sold by the sway and mastery of the orchestra, yet also by the charming brilliance of the percussion, while our frontwoman plays a sort of frenzied ringleader type character. These may not be as a novel concept, especially in this genre yet the allure, charisma, and commitment to the idea here are so stunning that any observations about the originality of the style seem negligible by comparison. The excellently titled, In Quest Of Sense keeps the wheels in motion, by delivering a forceful, dynamic and vigorous stamp. The only criticism I’d make here is that the snarls (or ‘grunts’, which Wikipedia lists as one of his contributions), courtesy of guitarist Gorka Elso, take me out of the experience somewhat. I understand how they act as a contrast, and that spoken word is more frequently employed in the styles drawn from here, yet I personally struggle to identify with this technique.
Thankfully, Otoi gets us back on course, starting off a tribal beat before gorgeously incorporating even more Celtic elements - the elusive woodwind and swirling melodies particularly capture the imagination. Soon after. Blurred Dreams lend a sense of subtlety; Taking nods from neoclassical the piece allows a beautiful piano melody to serve as the main emotional object, only swelling and growing in brilliance in the final moments. After the riveting On The Edge, we get another taste of the unique flavours that these musicians optimize to maximizing effect. Again, the tone is melodramatic, yet instead of epic, the feel here is one of a wraithlike waltz. I felt the need to transport myself into the sinister heart so I did what I always do when a piece of music seizes me in such a way, and paced around the room to its ambiance, unguided, just utterly absorbed (an odd stimming technique, yet I’m certainly not the only one).
One Step Higher is probably the most ‘normal’ track here, with its huge hook and insane memorability, yet despite its faint illusions to the mainstream, no allure is sacrificed. Blind Muse continues to innovate with distinctive use of synthesizers, deep resonant harmonies and ferocious drum work. In The Vortex closes us out on a piece led entirely by strings and vocals, providing an emotive and impassioned end. For my first exposure to Diabulus In Musica, I was absolutely enthralled by the bravery and skill. 8/10
I don’t like starting reviews like this but Black Swan really doesn’t give me a lot to say. There's quite an intriguing line up behind the act, comprising members of Foreigner, Survivor and Whitesnake to name only a few of the associated acts. In all fairness, the members almost have a natural right to play anthemic, guitar-driven hard rock, as they arguably helped to establish many of the traits which fans have come to love. That’s precisely the point though: there’s a market for hard rock of a reminiscent nature. If there wasn’t I wouldn’t have to keep complaining about how a lot of the bands in that genre sound exactly the same. Shake The World opens with a forceful bass line, commanding drumming and a distinctive riff. Lyrics speak of rolling with life's punches and never letting anyone get you down.
There’s nothing awful here. Hell, in a live setting, I could definitely see myself enjoying a moment in the vein of the stomping Big Disaster or the melodious Rock That Rolled Away. There’s nothing here that I would willingly take time out of my day to listen to though. I don’t really see any massive appeal outside of the star quality. Long Road To Nowhere and Immortal Souls are both complete with excellent performances and a sense of bravado...still, that’s to be expected. Whatsmore, there’s an earnestness behind the music which speaks of a desire to get together, as friends and rock out! Some of the finest acts in the world have formed in that way, and I can certainly respect that if indeed that was the intention! For me though, while I enjoyed the record on surface level, I will not be returning for regular listens, in the same way, that I do with some of the legends that Black Swan are forged out of. 6/10
Assassin: Bestia Immundis (Massacre Records) [Rich Oliver]
German thrash veterans Assassin return with album number six Bestia Immundis. Assassin have never been too well known being more of a cult thrash band. They formed in 1983 and released a couple of solid old school thrash albums before disbanding in 1989. They reformed in 2002 and released the dreadful The Club in 2005 followed by the rather average Breaking The Silence in 2011. Assassin then finally got their act together and struck back with the fantastic Combat Cathedral in 2016. Which brings us up to today. Guitarist Jürgen "Scholli" Scholz is the only sole member from the early days but is joined by vocalist Ingo Bajonczak (also of the brilliant Bonded who released their debut album recently), guitarist Frank Blackfire (of fellow countrymen and all round thrash legends Sodom), bassist Joachim Kremer and drummer Björn "Burn" Sondermann.
If you’ve been exposed to German thrash before you will know that it is generally far more aggressive and relentless than it’s American counterpart and that is certainly the case on Bestia Immundis. This album rarely takes a breather being an all out thrash assault from the very start. Songs such as The Swamp Thing, The Wall and Shark Attack are relentless thrashers that go straight for the jugular with merciless and devastating precision. As well as songs of pure speed and aggression there are the odd moments where things are mixed up a bit. How Much Can I Take? Whilst being a raging thrasher has moments of contemporary metal riffing whilst The Killing Light is the most melodic on the album with its acoustic intro and nods to melodic death metal in the riffing whilst the two part Chemtrails starts with a atmospheric and dramatic instrumental laden with eerie sounding keyboards before the pure thrashing rage of the second part.
Bestia Immundis whilst having the odd moments of variation is a very straightforward thrasher with bags of speed, violence and aggression. If you aren’t a thrash metal maniac then this album will probably wear thin quite easily but as a man who adores speed and aggression in his music I have to say I thoroughly enjoyed. One for the hardcore thrashers rather than a casual listener. 8/10
Assassin: Bestia Immundis (Massacre Records) [Rich Oliver]
German thrash veterans Assassin return with album number six Bestia Immundis. Assassin have never been too well known being more of a cult thrash band. They formed in 1983 and released a couple of solid old school thrash albums before disbanding in 1989. They reformed in 2002 and released the dreadful The Club in 2005 followed by the rather average Breaking The Silence in 2011. Assassin then finally got their act together and struck back with the fantastic Combat Cathedral in 2016. Which brings us up to today. Guitarist Jürgen "Scholli" Scholz is the only sole member from the early days but is joined by vocalist Ingo Bajonczak (also of the brilliant Bonded who released their debut album recently), guitarist Frank Blackfire (of fellow countrymen and all round thrash legends Sodom), bassist Joachim Kremer and drummer Björn "Burn" Sondermann.
If you’ve been exposed to German thrash before you will know that it is generally far more aggressive and relentless than it’s American counterpart and that is certainly the case on Bestia Immundis. This album rarely takes a breather being an all out thrash assault from the very start. Songs such as The Swamp Thing, The Wall and Shark Attack are relentless thrashers that go straight for the jugular with merciless and devastating precision. As well as songs of pure speed and aggression there are the odd moments where things are mixed up a bit. How Much Can I Take? Whilst being a raging thrasher has moments of contemporary metal riffing whilst The Killing Light is the most melodic on the album with its acoustic intro and nods to melodic death metal in the riffing whilst the two part Chemtrails starts with a atmospheric and dramatic instrumental laden with eerie sounding keyboards before the pure thrashing rage of the second part.
Bestia Immundis whilst having the odd moments of variation is a very straightforward thrasher with bags of speed, violence and aggression. If you aren’t a thrash metal maniac then this album will probably wear thin quite easily but as a man who adores speed and aggression in his music I have to say I thoroughly enjoyed. One for the hardcore thrashers rather than a casual listener. 8/10
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