Credic doesn’t do anything halfway. Their sophomore album Vermillion Oceans is pummeling, but more intriguing, the songs are complex, particular and downright large. It’s melodic death metal that is calculated, and the German five-piece pulls no punches. Rightfully so, the titular track is heavy, groovy and melodic – all in one. The album opens with Tides Disharmonized, which begins weighty before falling into beautifully subtle melodicism. Waldemar Janzen works the electronics in a way that isn’t too overbearing; rather, the music seeps into the crevices of the compositions (Autumn’s Spring). It really is striking since the genre oftentimes can feel encumbered with bands that rely too heavily on the melodic aspect.
The Path at certain parts has the feel of something that was written for a deathcore album, showcasing Credic’s versatility. It’s also rife with pleasing atmospherics, rippling guitars, merciless drums. Interhuman Gravity will for certain open the pit. Furthermore, the 10 tracks have identity, character and a true independent feel. Oh, and compounding the band’s layered talent musically, they also recorded, produced and created the album artwork on their own. The group actually formed way back in 2005, but have since only released two albums. Their patience has paid off in dividends. Stefan Scheu’s vocals are caustic and tough, precise and seasoned.
Andreas Steinle and Oliver Ecke guide the album with crisp guitar work, seamlessly complementing each other and reinforcing Credic’s melodic agenda (Darkened Fields is especially a showcase of guitars and melodic ambiances that coexist as naturally as humanity and water.) The previously mentioned Autumn’s Spring stands out not only for the superb keyboards, but the amalgamation of that and Scheu’s menacing vocals (and the ever-pleasing technique of opening and closing with the same melody). It’s difficult – and moot – to try and pinpoint the strongest song on Vermillion Oceans. Instead, it’s best to sit back and simply enjoy the ride. Lord knows Credic put in the time and effort, and it’s felt from start to finish. 8/10
Viande - L'abime dévore les âmes (Transcending Obscurity Records) [Richard Oliver]
L'abime dévore les âmes is the debut album from French dark death metal band Viande. Forming in 2013 the band have a demo and an E.P. to their name but L'abime dévore les âmes sees them going into full length territory and releasing their debut album through the ever dependable Transcending Obscurity Records. Viande seem to have an aim to make the most unpleasant sounding death metal possible. Taking cues from the cavernous suffocating sound pioneered by bands such as Incantation and adding in elements from doom and sludge metal as well as dark ambient soundscapes, Viande have created an album that is wholly dark and atmospheric as well as barbarically heavy and bludgeoning.
Viande - L'abime dévore les âmes (Transcending Obscurity Records) [Richard Oliver]
L'abime dévore les âmes is the debut album from French dark death metal band Viande. Forming in 2013 the band have a demo and an E.P. to their name but L'abime dévore les âmes sees them going into full length territory and releasing their debut album through the ever dependable Transcending Obscurity Records. Viande seem to have an aim to make the most unpleasant sounding death metal possible. Taking cues from the cavernous suffocating sound pioneered by bands such as Incantation and adding in elements from doom and sludge metal as well as dark ambient soundscapes, Viande have created an album that is wholly dark and atmospheric as well as barbarically heavy and bludgeoning.
Songs such as Les dents du gouffre, Le souffle des os and Langues de brume are crushing and suffocating pieces of death metal that take the genre to its horrifying extremes. Whilst this crushing and cavernous sound is impressive in just how nasty it sounds it means it is also rather repetitive and a lot of these songs are quite indistinguishable from each other. Although repetitive, Viande have a decent debut album here. It takes death metal to its primitive and atmospheric extremes and is certainly not an album for the faint hearted. If you are drawn to the sounds of Incantation, Dead Congregation and Portal then this is definitely an album worth checking out. 7/10
Saturna/Electric Monolith - Turned To Stone Chapter 4: Higher Selves (Ripple Music) [Rich P]
My obsession for all things Ripple Music is no secret. No, I am not on Todd’s payroll (if anything I send my direct deposit to his account on payday), but he and I must have some serious taste synergy considering everything the label puts out is something I really dig, obsess over, or scream from the Twitter rooftops about. Pre orders are always purchased minutes after they drop, and I always look forward to the split collaborations that introduce me to new bands that may have gone under the radar for me. I love the Turned To Stone split series, so when Volume 4: Higher Selves was announced I: first gave them my money and second grabbed all I could of the bands on the split, Saturna and Electric Monolith, both from Barcelona, Spain. What I heard from their earlier work made me even more excited for this release and I am not disappointed.
Saturna kicks us off with four kick ass 70’s southern infused rock tracks that are a bit less on the heavy stoner side of the Ripple roster and more on the hard rock side. Even those these guys are from Barcelona you would think there were from Jacksonville. I hear some Skynyrd throughout and maybe even some Allmans in the second track, Following The Sun (even the title sounds like an Allmans track). There is a more chill vibe to the Saturna side, and it’s great. The third track Drowning could be a 90s rock radio hit (compliment) and has some grungy tones to it. Don’t Run heads right back to their Jacksonville by way of Spain roots and has Simple Man vibes that you won’t be able to shake when you hear it. Great stuff from Saturna who deliver a strong and stylistically unexpected (for Ripple) side A of the split.
Electric Monolith’s sound is a bit more indicative of what you are used to with Ripple bands, bringing some of the stoner/heavy psych/70s proto sounds that we all know and love. The proto riffage starts immediately with By My Side, reminding me of Buffalo by way of Sabbath with some killer Iommi inspired guitar work. Hold Me Again pops right out of the time machine and gives you more of that 70s proto that you crave and that they have perfected. I love the production on their five tracks. The track So Lonely Dying is their Planet Caravan and leads right into the killer finale, where Electric Monolith may have given me a song of the year candidate in Nightmares, which has a killer riff, is catchy as hell, and reminds me of another one of my favorite Ripple bands, Salem’s Bend. A total ripper and if you hear one track on this album this is it.
Another amazing release from Ripple, and two more bands to discover and obsess over. This is some top-notch stuff and should be checked out for sure. The only issue I have is I am left wanting more from both bands. Hoping for some full lengths soon. Highly recommended. 9/10
Aerodyne - Last Days Of Sodom (ROAR! Rock Of Angels Records) [Matt Bladen]
Aerodyne have lost a bass player since the release of their last album Damnation in 2019, but they have also been through a torrid time collectively as well so as the title alludes to Last Days Of Sodom is about destruction, desolation and the world as we know it being on its last legs. They have channelled their nihilism, anger and apathy into the heaviest work they have produced yet. These Swedes have made an album that reminds me of bands such as Dynazty, Fozzy and the now defunct Taking Dawn, it's got a lot of infectious energy but wrapped up in darkness and despair.
Last Days Of Sodom is a record that has rebellious hard rock/trad metal at it's core but at times borders on thrash metal, the impressive Whirlwind Of Fire and the blasting title track both really grabbing you by the jowls and shaking you around, with touches of early Metallica. However Endgame has a bouncier chorus you'd expect from a band that kicked off their career as a hard rock outfit. I wasn't sure what to expect when I pressed play on this record, however Last Days Of Sodom, and Aerodyne as a band, really impressed me as this album will hopefully see them reach a bigger audience, which they so richly deserve. 8/10
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