Defiled are here to offer their latest platter, announcing it as ‘straight forward bone-crushing death metal’ and it certainly is. This is 15 songs whose soul purpose is to beat you into submission with all the blast beats and growled vocals you could ever want. This is written by fans of simple, not-overly technical metal for fans who just want pure aggression in their music.
Wisely, Defiled keep their song lengths short which only reinforces the brutality as they come in as a series of short, nasty shocks. Everything is in place with a completely frenzied attack which combines elements of hardcore / punk into the death metal provided here. Its sounds well, each instrument is clear and there is a well balanced mix which manages to hark back to how death metal sounded in the 90’s which is a neat trick.
However, no matter how fast, or how brutal it sounds there has to be something in there to continually engage the listener. Being the most brutal sounding is fine but if the songs start to blur into one with no apparent differences they it starts to feel like a 43 minute journey into blast beats. As I’ve said above this might provide joy on earth to those who just want that but it didn’t say anything new to me especially considering the strength of some death metal releases in the first 3 months of 2023. To me they could have taken one or two tracks off from here and still had a solid, coherent album that would have been suitably nasty and achieve their goals.
So, to end the review let me say that if you are a fan of no-frills, absolute straight-ahead death metal that deals in velocity and brutality then this is for you. It sounds exactly as described in their online bio and they do not deviate from that path one iota. It won’t satisfy fans of progressive / technical death metal but they never claimed to do so. 7/10
Bell Witch – Future’s Shadow Part 1: The Clandestine Gate (Profound Lore) [Rick Eaglestone]
Having made a surprise appearance at this year’s Roadburn Festival, pacific north-western doom metal monolith Bell Witch return with Future’s Shadow Part 1: The Clandestine Gate
Coming in at 83 minutes The Clandestine Gate brings to the forefront organs and synthesisers which have been used in the bands previous releases such as Mirror Reaper but weaved within this are ethereal style twinned vocals and lingering yet crushing guitars and rolling drum patterns.
Overall, the melodic lines are harmonies more structured, and the addition of death doom style vocals sprinkled in only add to the albums appeal and from the albums title it would appear the band are not finished with the idea of a similar release appearing soon.
Initially I thought I would not get on with this as its presented but in fact it has had the opposite effect as it requires your full focus and I have spent many an evening recently shutting everything off sitting in the darkness and in that stillness enjoying the journey that this track takes you through
A singular eternal and fleeting composition. 8/10
Smoulder – Violent Creed Of Vengeance (Cruz Del Sur Music) [Rick Eaglestone]
Four years on from their spectacular debut, Smoulder return to engulf the metal flame with follow up Violent Creed Of Vengeance.
The album opens with title track Violent Creed Of Vengeance which with its thunderous combination of well-constructed riffs and consistent NWOBHM soundscapes all make an immediate impact. This is then followed by The Talisman And The Blade which launches a breakneck speed.
Switching pace Midnight In The Mirror World still manages to showcase the bands’ ability to construct an absolute masterclass in song structure as the swaying and bold nature of the track holds the listeners attention, then once again speed is on the agenda for Path Of Witchery which is easily the most intense and head banging inducing of the album.
Victims Of Fate features an incredibly special guest appearance from author of The Great Cycle the legendary Michael Moorcock, the band have professed the love for art and literature over their career so it’s wonderful to have this incorporated as it fits the albums aesthetic perfectly.
Spellforger is no doubt going to be a live favourite as once again is absolute whirlwind, not only is it my highlight track by my favourite of Sarah Ann’s vocal performance of the entire album. The album concludes with longest track of the album Dragonslayer’s Doom which feels hugely influenced by Dio and had he still been with us I would ascertain that he would have been eager to collaborate on, just the perfect choice of ending track.
The fact that two thirds of the band relocated to Finland from their native Canada cannot stop the domination of this band. I was obsessed with Times Of Obscene Evil And Wild Daring and guess what, I am right back in that headspace and honestly if they came over the UK it would be an absolute joy. 10/10
Smoulder – Violent Creed Of Vengeance (Cruz Del Sur Music) [Rick Eaglestone]
Four years on from their spectacular debut, Smoulder return to engulf the metal flame with follow up Violent Creed Of Vengeance.
The album opens with title track Violent Creed Of Vengeance which with its thunderous combination of well-constructed riffs and consistent NWOBHM soundscapes all make an immediate impact. This is then followed by The Talisman And The Blade which launches a breakneck speed.
Switching pace Midnight In The Mirror World still manages to showcase the bands’ ability to construct an absolute masterclass in song structure as the swaying and bold nature of the track holds the listeners attention, then once again speed is on the agenda for Path Of Witchery which is easily the most intense and head banging inducing of the album.
Victims Of Fate features an incredibly special guest appearance from author of The Great Cycle the legendary Michael Moorcock, the band have professed the love for art and literature over their career so it’s wonderful to have this incorporated as it fits the albums aesthetic perfectly.
Spellforger is no doubt going to be a live favourite as once again is absolute whirlwind, not only is it my highlight track by my favourite of Sarah Ann’s vocal performance of the entire album. The album concludes with longest track of the album Dragonslayer’s Doom which feels hugely influenced by Dio and had he still been with us I would ascertain that he would have been eager to collaborate on, just the perfect choice of ending track.
The fact that two thirds of the band relocated to Finland from their native Canada cannot stop the domination of this band. I was obsessed with Times Of Obscene Evil And Wild Daring and guess what, I am right back in that headspace and honestly if they came over the UK it would be an absolute joy. 10/10
Spotlights - Alchemy For The Dead (Ipecac Records) [Mark Young]
New York three-piece Spotlights offer their latest Doom Gaze / post metal opus Alchemy For The Dead.
Beyond The Broken Sky starts with some subtle stuff, slide guitar with vocals that seem to drift forever before it snaps out of its trance to heavy up proceedings. The vocals don’t change and if anything, work even better against the heavier backing. This is a good start and runs into The Alchemist that employs an incredibly dense bass line to do the heavy lifting. Already Spotlights have thrown open their tool chest to pick out what works best. This is controlled, with the space in sound filled with keys.
Closing your eyes to this, you can imagine how it would look live, the lighting used as it changes its tack as it enters the final third with it gaining traction. Fuzz-soaked solo breaks, all against that mountain of a back line and then cut, it falls away to a sweet acoustic piece and I’m loving this, just the sheer amount of creativity and confidence on display. Nothing is the same except the gossamer soft vocals as they fight against whatever backing is thrown their way.
There are some call backs to Shoegaze from the late 80’s and early 90’s, in the way the songs are constructed but these are delivered in a way that makes them so much more interesting. The dynamics between soft and then incredibly heavy just rule and they are done in a way that when they land it just changes everything without loosing that songcraft on display. Four songs in and for me it is just exceptional, totally different from anything I’ve listened to in a long time. This could be due to having no frame of reference to similar bands and to the fact that I have dined on a diet of Death metal, Classic old-school thrash and 60’s music (Yes, The Beatles amongst others).
I mention 60’s music, specifically the period from 65 or 66 onwards where the spirit of creativity ran large, and I can trace that spirit here. You / they might not agree with that statement and that is fine. It doesn’t change how good this album is. It doesn’t change how good they are. What should matter is that you give them the attention they deserve even if you are fan of this music or not. 9/10
There are some call backs to Shoegaze from the late 80’s and early 90’s, in the way the songs are constructed but these are delivered in a way that makes them so much more interesting. The dynamics between soft and then incredibly heavy just rule and they are done in a way that when they land it just changes everything without loosing that songcraft on display. Four songs in and for me it is just exceptional, totally different from anything I’ve listened to in a long time. This could be due to having no frame of reference to similar bands and to the fact that I have dined on a diet of Death metal, Classic old-school thrash and 60’s music (Yes, The Beatles amongst others).
I mention 60’s music, specifically the period from 65 or 66 onwards where the spirit of creativity ran large, and I can trace that spirit here. You / they might not agree with that statement and that is fine. It doesn’t change how good this album is. It doesn’t change how good they are. What should matter is that you give them the attention they deserve even if you are fan of this music or not. 9/10
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