When you get members of Converge, The Red Chord, Twitching Tongues and Uncle Acid And The Deadbeats in a supergroup playing death metal you know the result is going to be intense. And intense is exactly the word to be used for Shadow Of Life which is the debut album from Umbra Vitae. Shadow Of Life is a cacophony of chaos with the resultant sound sounding like a cross between Converge, Nails and brutal death metal. The first half of the album is made up of shorter songs which are crushing blasts of aggression which pummel the listener into oblivion whilst the second half of the album is made up of slightly longer songs which was more breadth to them have a greater depth with extra amounts of dissonance and atmosphere as well as the aforementioned levels of chaos and violence. Even with the short length of the album it does get a bit repetitive towards the end and I became numb to the unfolding violence. Maybe it is a taste thing as well as I prefer my death metal rotten and fetid sounding. There are still may gratifying moments of bludgeoning violence such as the opening punch in the face of Ethereal Emptiness, the short and savage Polluted Paradise and the crushing title track which closes the album. Shadow Of Life is a very decent debut from a sonically destructive supergroup. An uncompromising mix of grind, death metal and hardcore. 7/10
…And Oceans: Cosmic World Mother (Season Of Mist) [Paul Hutchings]
There’s a lot to consider about the history of … And Oceans. Initially formed as the second wave of black metal was emerging in 1995, the band lasted until 2002’s Cypher before ceasing. Their music initially took a unique symphonic approach to the music with ambient parts and lyrics twisting the reality, using different languages, and aiming to provoke and confuse. Their 1998 debut The Dynamic Gallery Of Thoughts was quickly followed by sophomore release The Symmetry of I, The Circle Of O in 1999. Having entered the Abyss Studios with the Tägtgren brothers in 2000, the album A.M.G.O.D. was musically far from the early symphonic black metal delirium with its electronic post-modern approach. 2002’s more elementary album Cypher featured industrial and power electronics vibes. 17 years later and the Finns decided to reform for a selected amount of shows. A new album became a reality and the band returned to the Season of Mist fold. 2020’s line up sees some new faces, with vocalist Mathias Lillmåns (Finntroll) alongside keyboardist Antti Simeon and drummer Kauko Kuusisalo, joining original members Teemu Saavi, T, as well as previous guitarist Syphon now laying down bass.
Cosmic World Mother is a return to the more visceral sound of earlier times. Opening with the ferocious The Dissolution Of Mind And Matter, there is a bristling intensity that blends with the band’s industrial and symphonic elements. The creative energy is evident as the album progresses, with the explosive battery of Vigilance and Atrophy, banks of savage riffing merging with the synth work to create an underlying melody that is not always heard in black metal. The harmony between the unit is impressive, the machine gun drumming linking tightly with the other instruments. Over 47 minutes, … And Oceans traverse a sea of emotions, blending the influences that the six band members bring to the table. Soaring synths combine with the smashing, eruptive force of the powerhouse drumming, the anthemic feel and Lillmåns’ subhuman roar which fits the sound more comfortably than many would expect. But there is also plenty of melody which is intertwined through these 11 songs, such as the song As The After Becomes The Before. Then there’s the frenetic, ball busting title track, which is a supersonic monster, the pace and power shattering all around.
There is an unintentional split in the album, with a change of approach on Helminthiasis and from there on. Synths are more prominent, the energy as high but the frenetic pace reduced. This continues on Oscillator Epitaph; the variation significant but no less impressive. The segues into the haunting piano led instrumental In Abhorrence Upon Meadows, a welcome change from the onslaught surrounding it. It’s almost a film score, the gentle, emotional feel totally different and yet fitting neatly into its position on the album. After the calm, a dramatic conclusion to this impressive album with three further searingly fiery tracks, which conclude with the monstrous The Flickering Lights. Savage and yet at times beautifully contrasting, Cosmic World Mother provides the black metal world with another release of quality. 8/10
Arida Vortex: Rider Of Steel (681419 Records DK2) [Simon Black]
Rider Of Steel is the 8th album from Moscow-based Power Metal outfit Arida Vortex - a name originally compiled from the initials of its original members but pleasantly distinctive nonetheless. This album starts well with the obligatory Power Metal instrumental introduction and I’m already starting to feel positive. OK, so I’m a sucker for any Power Metal act that uses the harpsichord setting (and well) on the keyboard voices (although Jens Johansson from Stratovarius probably ought to get genre royalty points every time it happens). Oh, and while we’re at it a few more for Evgeny Epishin’s Kiske-style vocals, who doesn’t appear to have been with them for very long but is a breath of vocal fresh air.…And then the album kicks in properly, and stays kicked in. This is a full on, full throttle Power Metal opus, with some solid thundering rhythms, a fast pace and vocals that hit those high notes at the top of the range without sounding strained.
The music is strongly about fast and pacey Maiden-esque riff’s – nothing too complex, just fast, furious and with just the right level of repetition to keep that thundering feeling going, but with plenty of technical virtuosity in the instrumental breaks when all the instrumentals start bouncing off of each other. And when they happen, they are incredible – the musicianship on the instrumental track The Invincible was nothing short of excellent. The only criticism I have of this is the mix, as whichever instrument is in the lead tends to come too far forward in the mix, so you lose the immersive effect they probably achieve live. The overall effect is Kiske-era Helloween, mixed well in a Power blender with Iron Maiden and a Stratovarius chilli sauce. In other words, bloody good. The title track Riders Of Steel, is cracking example of all the elements that work on here, and tracks like We Will Rise Again prove they can do it all at super speed without losing the overall effect.
The style mix does vary aplenty though – Run To Nowhere is a passable attempt at a Melodic Hard Rock Power ballad, with just enough welly in the chorus to not feel like they’ve compromised. This band do surprise as well, when they do strip it back with the acoustic ballad album closer To Be By Your Side, it sounds natural and non-formulaic. This was definitely a grower and a band to watch. 9/10
Tense Machine: Echoes (Self Released) [Liam True]
Born from the ashes of My Darkest Days & Deadset Society (Same band, different name, yeah, I’m confused as well) and releasing three singles in 2019, Tense Machine are here with their debut album. Hard Rock is a genre that can be learnt easily, but to master it and perfect it to make it sound good. Echoes however, falls a bit flat of the masterful mark. While being a powerful sounding album, it has a good few riffs, chorus’ and a couple of slow songs to bring it down and show off the vocal talent of Dane Hartsell. It does mainly go off the guitar tone that’s been used a million times over, which to make sounds like any Hard Rock album since 2007, but does add a little flavour of their own to the pot to make it stand out just a tiny bit. Vocalist Dane Hartman sounds like a David Draiman rip off, prove me wrong, but has his own unique spin, making it his. The album is decent enough for a debut album, making small waves in their respective scene, but for me personally, it does nothing. It's great on your first listen, but there’s no repeat qualities for me and it’s easily forgettable. The lack of solos is one main reason for me why it’s forgettable. But on your first listen, it’s pretty enjoyable. 6/10
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