Fit To Kill, the eighth long player from Norwegian Death legends Blood Red Throne was described by my fellow writer Paul Scoble as “an essential piece of death metal”. Well, you may as well add album number nine to that list of essentials, for the Norwegians return with a crushing release which picks up where Fit To Kill left off.
Unto Others - Strength (Roadrunner Records) [Matt Bladen]
Formerly known as Idle Hands, Strength is second album from Oregon Goth Metal band Unto Others, but their first under this name. A beguiling fusion of Gothic rock ala The Mission, Fields Of The Nephilim and Sisters Of Mercy with the punching gallop of heavy metal bands such as Danzig, tribulation and one of my favourites Sentenced added for a bit more dirtiness. The first album Mana was a pulsing ride through the murky underworld, the songs themselves shrouded in darkness with any light counteracted with a sarcastic sneer. On Strength there's lots more of that, while also adding few new elements to show that Unto Others are trying to improve on Idle Hands.
The approach here is simple. Pulverise with sheer intensity, and then level with anything that is left in the tank. Shimmering guitars kick things off on the title track that opens the album. It’s a punishing, brutal and slightly chugging opener, with banks of heavy riffs bludgeoning above rampant blast beats, Yngve "Bolt" Christiansen’s guttural vocal delivery in contrast to the soaring harmonies of the dual guitar work of Daniel ‘Død’ Olaisen and Ivan ‘Meathook’ Gujic.
As expected, there is very little opportunity for catching one’s breath. The driving pace of Conquered Malevolence is crushing, harrowing screams that echo in the background over the relentless battery of riffs and double bass kicks. Having been around for almost quarter of a century, Blood Red Throne have long passed the point of having anything to prove but they still deliver quality death metal. Whilst Conquered Malevolence spares no prisoners, there is still opportunity for some melody through crystal clear guitars that cut above the pounding maelstrom raging underneath.
Whilst pace is still much in evidence, Blood Red Throne can still crush with their sheer power, as proved on the stomping Transparent Existence, which whilst slower than some of the tracks assembled here doesn’t vary in the intensity with which it is played. But it may be when the pace is upped that Blood Red Throne hit their nastiest, such as the blistering pace of Inferior Elegance which is complete with uncomfortable backing vocals of a kind. Similar driving tempos appear on 6-7, although there is some opportunity for classier guitar work in the mid-section, more of a gasp for air as the pace is rather unstoppable by this stage. It’s impossible not to bang the head aggressively by now.
And if you hadn’t had enough by the final track, then the nigh on eight minute blast of Zarathrustra ensures that you leave with a few hooks sticking out of the back, for this track is an earworm, working deep within seconds of the opening riffing and deceiving with an intro that segues into a bone crushing conclusion. They may have been around since 1998, but Blood Red Throne continue to follow their own path and style. It’s why they continue to produce such solid pieces of work. This is a worthy successor to Fit To Kill. 8/10
As expected, there is very little opportunity for catching one’s breath. The driving pace of Conquered Malevolence is crushing, harrowing screams that echo in the background over the relentless battery of riffs and double bass kicks. Having been around for almost quarter of a century, Blood Red Throne have long passed the point of having anything to prove but they still deliver quality death metal. Whilst Conquered Malevolence spares no prisoners, there is still opportunity for some melody through crystal clear guitars that cut above the pounding maelstrom raging underneath.
Whilst pace is still much in evidence, Blood Red Throne can still crush with their sheer power, as proved on the stomping Transparent Existence, which whilst slower than some of the tracks assembled here doesn’t vary in the intensity with which it is played. But it may be when the pace is upped that Blood Red Throne hit their nastiest, such as the blistering pace of Inferior Elegance which is complete with uncomfortable backing vocals of a kind. Similar driving tempos appear on 6-7, although there is some opportunity for classier guitar work in the mid-section, more of a gasp for air as the pace is rather unstoppable by this stage. It’s impossible not to bang the head aggressively by now.
And if you hadn’t had enough by the final track, then the nigh on eight minute blast of Zarathrustra ensures that you leave with a few hooks sticking out of the back, for this track is an earworm, working deep within seconds of the opening riffing and deceiving with an intro that segues into a bone crushing conclusion. They may have been around since 1998, but Blood Red Throne continue to follow their own path and style. It’s why they continue to produce such solid pieces of work. This is a worthy successor to Fit To Kill. 8/10
Formerly known as Idle Hands, Strength is second album from Oregon Goth Metal band Unto Others, but their first under this name. A beguiling fusion of Gothic rock ala The Mission, Fields Of The Nephilim and Sisters Of Mercy with the punching gallop of heavy metal bands such as Danzig, tribulation and one of my favourites Sentenced added for a bit more dirtiness. The first album Mana was a pulsing ride through the murky underworld, the songs themselves shrouded in darkness with any light counteracted with a sarcastic sneer. On Strength there's lots more of that, while also adding few new elements to show that Unto Others are trying to improve on Idle Hands.
All the songs have a hook-laden directness, jangling open chord guitars, of Gabe Franco and Sebastian Silva nestle comfortably against the dark, gothy grooves of Brandon Hill (bass) and Colin Vranizan (drums). All of those involved have spent their time in speed/trad metal bands so while this is the jumping off point, Strength, like it's predecessor owes more to the post-punk/new wave style as I mentioned before. Gabe Franco's richly timbre voice reminding me of the much missed Peter Steele. When Will God's Work Be Done fires off with a open bass chug adding a bit of drama, as while No Children Laughing Now ups the Goth attitude these two tracks along with the title song Strength do a lot to convince you that it could be a forgotten Paradise Lost record. Strength particularly has a nasty thrashy riff and some snarling vocals too.
More leather and lace than denim and leather, Strength is Unto Others continuing to tap the same vein they did under their previous moniker, they even make a Gothic metal version of Pat Benatar's Hell Is For Children is worth the price of admission alone. Though these previous offerings have all been wholesale released under the new name, on this follow up full length these dark rockers bring more elements to define them as they are now. A potential AOTY candidate, I will be playing this at least once a week. 9/10
Noltem - Illusions In The Wake (Transcending Obscurity Records) [Paul Hutchings]
For a debut release this is something special. US atmospheric black metal outfit Noltem comprise a mere three members in Max Johnson - acoustic and electric guitar, keyboards, lyrics, John Kerr (Marsh Dweller, Pyrithe, Seidr) - drums, vocals, keyboards, guitars, and bassist Shalin Shah (Protolith). Over 40 minutes, the trio weave a spell so enchanting that you can only move to press play once more. The six tracks echo and call, combining deep and dark passages of acoustic interludes that wind and merge with heavier, more traditional black metal styles. Noltem have captured the emotions in such an epic manner. Composed and crafted in a way that many bands can never attain, the soaring guitar solos strike deep into the soul, whilst the drumming anchors the tracks with a ferocity that never needs to bludgeon or go for overkill.
The pace is variable, the magnificent On Shores Of Glass which closes the album in instrumental style case in point, with searing guitars, persistent drum fills and bass kicks, and a mix of solid riffing, harrowing keyboards and a haunting finale that search the very depths of the psyche. The vocals, often the Achilles heel in black metal are spot on, rasping growls that rise about the melodious interplay and sonic soundscapes that are chiseled carefully throughout this record. The blending of intense black metal riffing, sophisticated keyboards and an overall atmosphere that hits even the blackest of hearts. There’s nothing but stunning music in this album. If you are a fan of Fen, Saor, Agalloch, Fellwarden and Panopticon, to name but a few, then this should be on your essential purchase list. 9/10
Draped in the Gothic, bleak artwork from Septicflesh frontman Seth Siro Anton, French metal band owe a musical debt to the Greek symphonic extreme metal band, their debut album brings together death, black, thrash and modern metal effortlessly adding touches of Gojira with the heavyweight, groove metal fret slides as well as French metal stalwarts Dagoba, who Naraka drummer Franky Costanza has played for in the past. In Tenebris is a heavy as a shipping crate of lead, crushing downtuned riffage and vicious vocals from Théodore Rondeau are pretty much present on every song, but the wide usage of symphonic elements is what keeps them sounding so similar to Septicflesh. It's no wonder they are supporting Fleshgod Apocalypse on tour as both bands will sync well together.
Back to the album and after the swelling cinematic intro Cursed is a powerful opener with battering double kicks before The Black switches into that modern groove sound of Gojira. Mixed by Logan Mader songs such as Dream And Wait smash you in the face with Costanza killing it behind the kit. However Jean-Philippe Porteux (guitar) and Pierre-André Krauzer (bass) also provide the blazing riffage though the whole endeavour is fortified by the powerful orchestral compositions. In Tenebris is an exceptional debut record from Naraka with the additions of vocalist Veronica Bordachinni and Lindsay Schoolcraft on Of Blood And Tears and Mother Of Shadows respectively, they have nailed their intentions to the wall. 8/10
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