After a twelve year gap, UK old school death metal heroes Benediction are back with their eighth album Scriptures. It also heralds the return of former vocalist Dave Ingram who was frontman of the band during the band's best era and featured on their finest albums including the legendary old school death metal classics The Grand Leveller and Transcend The Rubicon. It is this classic era of the band which is very much channelled on Scriptures and it is an absolutely glorious 47 minutes of uncompromising old school death metal.
Had this album not been recorded with 21st century technology you would be convinced that this album was written in the early 90’s. It is a perfect encapsulation of the death metal of that period with filthy riffs that veer into thrash territory, a pounding rhythm section and plenty of that dirty old school death metal groove. The return of Dave Ingram has definitely relit the fire in the band with original guitarists Darren Brookes and Peter Rew playing with the energy and intensity that they had in their youth. The songs they have crafted are purely designed for maximum damage to necks as it is virtually impossible not to bang your head throughout this album with killer tunes such as Scriptures In Scarlet, Progenitors Of A New Paradigm, Rabid Carnality and In Our Hands, The Scars guaranteeing a bitch of a bangover the next day.
I love my death metal simple, straightforward and sounding retro as fuck as Benediction deliver on all counts with Scriptures. This album has bags of energy and the songs are so much fun to listen to that this grizzled metaller had big grins on his face throughout. The album does lose a bit of steam towards the end due to its repetitive nature but you generally know what you are getting with an old school death metal album and whilst repetitive it is remarkably consistent throughout. Benediction have given us old school death metal fans 47 minutes of pure joy in 2020 and it is easily one of the best death metal albums of the year. If you enjoy bands such as Massacre, Bolt Thrower, Cancer and Asphyx then get on this immediately. 9/10
Kingdom Of Giants: Passenger (Sharptone Records) [Liam True]
The new age of Metalcore ha proved to be a hit and miss for many bands, as they either adapt to the newer style of stay stuck in the 2000’s, which ends badly for them. Kingdom Of Giants were formed from the remains of an unnamed band back in 2010 and have quickly adapted their sound to fit into the new age of heavy music. Sounding like the bastard love child of While She Sleeps and Architects they show they have the heavy hitting songs to make them one of the biggest bands in the scene. The northern californian sextet show on their third studio album, and their debut on Sharptone Records, that they can withstand the plight of the falling scene.
The new age of Metalcore ha proved to be a hit and miss for many bands, as they either adapt to the newer style of stay stuck in the 2000’s, which ends badly for them. Kingdom Of Giants were formed from the remains of an unnamed band back in 2010 and have quickly adapted their sound to fit into the new age of heavy music. Sounding like the bastard love child of While She Sleeps and Architects they show they have the heavy hitting songs to make them one of the biggest bands in the scene. The northern californian sextet show on their third studio album, and their debut on Sharptone Records, that they can withstand the plight of the falling scene.
From opener Two Suns the band begin ripping you apart as the start of the album is a build up to the band exploding into guitarists Max Bremer & Red Martin creating a heavy monster riff and drummer Truman Berlin hits harder than a punch from Mike Tyson to cause as much destruction as possible. By the time vocalist Dana Willax, the band have launched into their signature chugs but show they can create chorus after chorus with Sync, Burner & Bleach having the catchiest. The mix of heavy & melodic song writing on the album is the defining component that brings the record together. From the vicious vocals from Willax he also proves he can serenade you before hitting back with his snarls and growls.
The guitar work is excellent from all players as they intertwine the chugs with the soothing chorus parts with the heavy punishing riffs to mark their stance within the album. From start to finish it’s the album that Metalcore needs at this time to resurface the genre to it’s soaring popularity. And with other contenders rising to the throne, Kingdom Of Giants have marked their place as a force to be reckoned with, and are climbing to the top. 9/10
Adamantis: Far Flung Realm (Adamantis Records) [Simon Black]
Adamantis hail from Massachusetts, USA, have been around building up a following for a few years, with support slots with the likes of Gygax and Ross The Boss and this is their debut album. It’s been four years in the making, with only an EP in 2018 to keep up their profile and the first release with new singer Jeff Stark. Musically this is pure European style Power Metal, and as often the case with USA Power acts, a clearly audible line back to those NWOBHM architects of the whole movement. They have had a number of challenges stabilising a line up and this one seems to work, with Stark being the final piece of the puzzle. Mixing duties are handled by Christian ‘Moschus’ Moos, which no doubt contributes to the Euro sound, but the band seem to know how to keep things focussed and although there’s plenty of speed and skill, this is not in any way a showy recording. The instruments do what they need to – no more, no less, and the song structure comes first.
Adamantis: Far Flung Realm (Adamantis Records) [Simon Black]
Adamantis hail from Massachusetts, USA, have been around building up a following for a few years, with support slots with the likes of Gygax and Ross The Boss and this is their debut album. It’s been four years in the making, with only an EP in 2018 to keep up their profile and the first release with new singer Jeff Stark. Musically this is pure European style Power Metal, and as often the case with USA Power acts, a clearly audible line back to those NWOBHM architects of the whole movement. They have had a number of challenges stabilising a line up and this one seems to work, with Stark being the final piece of the puzzle. Mixing duties are handled by Christian ‘Moschus’ Moos, which no doubt contributes to the Euro sound, but the band seem to know how to keep things focussed and although there’s plenty of speed and skill, this is not in any way a showy recording. The instruments do what they need to – no more, no less, and the song structure comes first.
The danger with wearing your influences brazenly (and this album screams Blind Guardian, Gamma Ray, Manowar and others so very, very loud) is that there are few moments when they distinctively stand by their own sound. Now, that might work in the States where these influence acts are a scarce sight, but in Europe this may prove a challenge for them to be distinctive from the competition. That said, when they do stand on their own two feet, they do so well. Imagination for example, takes things into more epic territory with a distinctive catchy harmonic opening and closing riff with a simple power chord rhythm, dripping in reverb and proving that you don’t need speed and virtuosity to create effective movements. It’s also lyrically one of the moodier and most effective moments. Perhaps what is missing here is the confidence to put the influences in the background and focus on their own unique sound.
The first song on the album, Unbound Souls is another example. The speed and riffage is a bit more up tempo, and the vocal harmonics are more effective and distinctive. I have no idea of the relative ages of all these songs, but I am betting that when you have been gestating your first album for four years that some of these have some history associated with them, and the two songs I draw out sound very different and indicate a bit more maturity. So, I am listening, and let’s see what a second album brings, but in the meantime take the good bits from this one and enjoy. 6/10
Mad Dog: We Are Ready To Testify (Go Down Records) [Lucas Tuckwood]
In an ever complicating world of new, daring variations on the traditional rock and roll formula, it’s often hard to even think about turning the clock back fifty years and getting into that old fashioned groove. That’s what the spritely Italians Mad Dog are trying to do with their fresh album We Are Ready To Testify, but unfortunately they fail to hit the mark. The problem with traditional 70s rock and roll is keeping true to the roots, but also adding that spice that separates it from the rest. It’s a delicate tightrope act, and unfortunately Mad Dog fail to complete the trapeze. Now three albums in, their musicianship certainly speaks volumes of their experience, but still lacks that special something. Of the ten tracks, none really stood out, despite their best efforts.
Mad Dog: We Are Ready To Testify (Go Down Records) [Lucas Tuckwood]
In an ever complicating world of new, daring variations on the traditional rock and roll formula, it’s often hard to even think about turning the clock back fifty years and getting into that old fashioned groove. That’s what the spritely Italians Mad Dog are trying to do with their fresh album We Are Ready To Testify, but unfortunately they fail to hit the mark. The problem with traditional 70s rock and roll is keeping true to the roots, but also adding that spice that separates it from the rest. It’s a delicate tightrope act, and unfortunately Mad Dog fail to complete the trapeze. Now three albums in, their musicianship certainly speaks volumes of their experience, but still lacks that special something. Of the ten tracks, none really stood out, despite their best efforts.
The energy’s here, no doubt about it, but what’s missing is any sort of bite that’ll keep listeners coming back for more. They’re going for that classic garage band feeling, but there’s none of that essential grit on offer here, and what you’re left with is a dull album from a band that ought to shake things up a little bit, and songs that you’ll swear you’ve heard a thousand times before. In all, this album is quite a bore, only redeemed somewhat by good musicianship. The ingredients are here, but the lack of any real creative oomph really holds it back from being better. As it stands though, there’s cats out there madder than these dogs. 5/10
No comments:
Post a Comment