I had the pleasure of catching Undeath live at the Star and Garter in Manchester last year where a wholesome night of entertainment was had. Touring on the back of their It’s Time…To Rise From The Grave, they served up a night of massive riffs and searing brutality. Oh, and a shared love of Greggs.
Their third album doesn’t immediately show any signs of change, but it’s there, buried deep but what is the same is that there is no wasted air. Its straight into that swinging death metal, where that synchronicity between each component is running. Dead From Beyond churns with that mix of the straight ahead battering and later technical melodic lines, always anchored by that backline that keeps it all in check. When they drop the one-two of More Insane and Brandish The Blade there is a subtle shift, a noticeable inclusion of melody that makes them both head and shoulders above the opener, it’s the sound of Undeath hitting top gear.
More Insane is frantic, almost the musical equivalent of a mental episode. Riffs are here, the bass is there, and the drums are constant in their attack. Brandish The Blade has this fucking awesome starting arrangement, and from there they don’t let go. This is the stuff that causes circle pits to erupt, and it sounds amazing. The break at 2.10 is just quality, with the outro solo/rhythm is just gold. I think this is one of my favourite songs of the year, that melody line is just fire.
Disputatious Malignancy is pure chaos, and that approach comes and shakes you up to show that they are capable of dropping an exercise in lunacy at any moment. Where Brandish seems structured, Disputations is a different proposition. Sutured For War is something else again, its like a death metal waltz. With pinched harmonics. Remember that change I mentioned? It’s in how they are building the songs and it is so subtle that it takes a couple of listens for it to sink in. At first, its all guns blazing, battering of the senses metal. Listen again and that melodic touch makes itself heard. It's still heavy, but it hits so well. The discord into lightning fills into harmony parts in the latter stages is just incredible, played out against the rapid double bass.
New Hermano stuff. What more can I say. Go listen, because Hermano rules. My only issue here is that the greedy bastard I am wants more, and it sounds like we will all be getting it soon. For now, let’s celebrate this amazing band with When The Moon Was High. 9/10
Maul - In The Jaws Of Bereavement (20 Buck Spin) [Mark Young]
Recently I’ve noticed that with certain death metal bands they are doing more than just dropping a speed fest or use a flurry of noise, often at a certain pitch to maybe mask defects in their ability to write quality metal. Maul, with their opening gambit In The Jaws Of Bereavement go for building a slow burn approach, filing it with statement riffs and a focus on control, letting each component part do their part in service to the whole so that you end up with a song that grabs and allows them to then batter you with the follow up, in this case the fiendish Blood Quantum.
Disputatious Malignancy is pure chaos, and that approach comes and shakes you up to show that they are capable of dropping an exercise in lunacy at any moment. Where Brandish seems structured, Disputations is a different proposition. Sutured For War is something else again, its like a death metal waltz. With pinched harmonics. Remember that change I mentioned? It’s in how they are building the songs and it is so subtle that it takes a couple of listens for it to sink in. At first, its all guns blazing, battering of the senses metal. Listen again and that melodic touch makes itself heard. It's still heavy, but it hits so well. The discord into lightning fills into harmony parts in the latter stages is just incredible, played out against the rapid double bass.
You can pick any song off here, and it will tick your heavy metal box, it will also offer something different each time round. Cramped Caskets (Necrology) is a continuation of It’s Time material, no less effective than the songs they delivered then but held up against Sutured it pales a little in its company. Bounty Hunter is a dense crawl, favouring a more mid-paced attack to drive those riffs home and that slower pace is welcome, just to provide a breath before we enter the final act. Wailing Cadavers is a straight up pummelling, no frills just brutality. Check out that break at 1.45 onwards, this is caveman time. And why not?
The attractively titled Disattachment Of A Prophylactic In The Brain (which is difficult to type as it is to say) which has an almost happy tone to it. For about 10 seconds before it descends into blur of extremes. They do repeat it mind, and then somehow build an aggressive monster from it in a way I didn’t expect. Of all the tracks here, I think that this could have been trimmed by half and it still would have been a belter. As it is they drag it around the block a bit, and then put it down.
The attractively titled Disattachment Of A Prophylactic In The Brain (which is difficult to type as it is to say) which has an almost happy tone to it. For about 10 seconds before it descends into blur of extremes. They do repeat it mind, and then somehow build an aggressive monster from it in a way I didn’t expect. Of all the tracks here, I think that this could have been trimmed by half and it still would have been a belter. As it is they drag it around the block a bit, and then put it down.
Bones Clattering In The Brain is back to that dark, rapid, skittish riff fest that only a few bands seem capable of pulling off to the same effect as this. This is how you sign off an album, with all hands going for it and providing an irresistible blend of speed with a deft touch, and heaviness with clarity. There is some beautiful riffing going on in here, and I think that sums it up as a whole. There are some class songs on here, some do land better than others (ok all bar track 9 which just didn’t take with me) but its a cracker and is sure to be bludgeoning its way onto AOTY lists come December. 9/10
Hermano - When The Moon Was High (Ripple Music) [Rich Piva]
Yes, we have new Hermano material. This should be cause for everyone to celebrate. It is only two new songs and four never released before live tracks, but who cares, we have new Hermano material. When Ripple Music announced the project to re-release all of the old Hermano records, main Ripple man Todd hinted at some new stuff, as did Hermano guitarist Dave Angstrom, but hints are one thing, to have new Hermano songs in front of me on wax and blasting through my speakers is another, and here we are in the form of When The Moon Was High.
Let’s talk about the new tracks first. Breath is classic Hermano. The killer riff and John Garcia’s classic vocals say Hermano is here and is back, as loud as they possibly can. I love the background vocals on the track and the bit of effect of the guitar makes this one even more special. This song fits perfectly into Hermano history and sounds like the band never stopped recording all this time. Dave Angstrom and Mike Callahan’s guitar work is excellent (that riff!!!), especially the solos, which it sounds like they may have traded off on it, which is very cool, and Dandy Brown and Chris Leathers stay tight as ever as the rhythm section. Classic.
Hermano - When The Moon Was High (Ripple Music) [Rich Piva]
Yes, we have new Hermano material. This should be cause for everyone to celebrate. It is only two new songs and four never released before live tracks, but who cares, we have new Hermano material. When Ripple Music announced the project to re-release all of the old Hermano records, main Ripple man Todd hinted at some new stuff, as did Hermano guitarist Dave Angstrom, but hints are one thing, to have new Hermano songs in front of me on wax and blasting through my speakers is another, and here we are in the form of When The Moon Was High.
Let’s talk about the new tracks first. Breath is classic Hermano. The killer riff and John Garcia’s classic vocals say Hermano is here and is back, as loud as they possibly can. I love the background vocals on the track and the bit of effect of the guitar makes this one even more special. This song fits perfectly into Hermano history and sounds like the band never stopped recording all this time. Dave Angstrom and Mike Callahan’s guitar work is excellent (that riff!!!), especially the solos, which it sounds like they may have traded off on it, which is very cool, and Dandy Brown and Chris Leathers stay tight as ever as the rhythm section. Classic.
The other new track is not really new, more like lost and found during the repress project, and is an acoustic driven stoner psych chill fest call Never Boulevard from way back in 1998, tracked during the first Hermano sessions. Garcia’s vocals here are sung more than he usually sings (I think you will know what I men here) and has a very 90s alt rock feel, in all the best ways possible. Great stuff. The four live tracks are all great, one from Willem Twee Poppodium in 2004 (Brother Bjork) and three from the last live performance of the band till date, from 2016’s Hellfest, including my favourite Hermano song, Senor Moreno’s Plan. All sound great, and the hint that Dave gave on that same podcast about a release of that full show is very exciting given how great these three tracks sound.
New Hermano stuff. What more can I say. Go listen, because Hermano rules. My only issue here is that the greedy bastard I am wants more, and it sounds like we will all be getting it soon. For now, let’s celebrate this amazing band with When The Moon Was High. 9/10
Maul - In The Jaws Of Bereavement (20 Buck Spin) [Mark Young]
Recently I’ve noticed that with certain death metal bands they are doing more than just dropping a speed fest or use a flurry of noise, often at a certain pitch to maybe mask defects in their ability to write quality metal. Maul, with their opening gambit In The Jaws Of Bereavement go for building a slow burn approach, filing it with statement riffs and a focus on control, letting each component part do their part in service to the whole so that you end up with a song that grabs and allows them to then batter you with the follow up, in this case the fiendish Blood Quantum.
Tempo wise it is cut from the same cloth but attacks in a different way. There is double bass but its used sparingly and riffs stop and start, all the while Garret Alvarado growls as low as is possible over the top. Its heavy without forgetting to bring the necessary touch of melody to it and suddenly you have two first class openers.
Weaving Cerebral Horrors keeps that flow going, controlling the pace to suit to suit the moment. When they speed it up it’s not done as a means of proving they are the fastest, no its more to be able to add to the build as they see fit, expanding their sound with a corking riff set that is paced perfectly. Dropping some lovely triplet action in, Spontaneous Stigmata has that forward movement that comes from understanding that they don’t need to be hyperfast, and in doing so cover a lot more ground.
Weaving Cerebral Horrors keeps that flow going, controlling the pace to suit to suit the moment. When they speed it up it’s not done as a means of proving they are the fastest, no its more to be able to add to the build as they see fit, expanding their sound with a corking riff set that is paced perfectly. Dropping some lovely triplet action in, Spontaneous Stigmata has that forward movement that comes from understanding that they don’t need to be hyperfast, and in doing so cover a lot more ground.
When the lead comes, it fits completely showing that they have focused solely on writing the best songs that they can where every act is seamless and there is nothing wasted. It is also heavy as you like. What you also find is that this ability manifests itself right through each song, penetrating to the very core. From the atmosphere of An Alluring Deceit to the simple brutalism of Midwest Death which has that stomping action down which you know will translate to live carnage.
That decision to stay within that mid-paced tempo pays dividends on Unbridled Delusions with its Slayer-esque guitar lines that drop into a dead-on down pick moment that gladdens the heart. It’s the little touches that light this up, the pre lead rhythm that anchors both, the gradual slow down like a train hitting the brakes shows that confidence I referred to earlier where they don’t need speed when they have riffs as glorious as this.
That decision to stay within that mid-paced tempo pays dividends on Unbridled Delusions with its Slayer-esque guitar lines that drop into a dead-on down pick moment that gladdens the heart. It’s the little touches that light this up, the pre lead rhythm that anchors both, the gradual slow down like a train hitting the brakes shows that confidence I referred to earlier where they don’t need speed when they have riffs as glorious as this.
Saying that, the tone on Stuck Stomped And Smeared is pure filth, and that chugging build is spot on, it is so simple but works so well. They don’t overcomplicate it at all, its just pure feeling which comes through every chord and every drum strike. I would suggest that those wishing to learn how to write quality riffs get onto this.
With Each Voracious Lick, our penultimate track keeps us in the lower regions of the guitar, with some seriously low vocal work here that compliments and the final track, well that is just a barnstormer. Drawn To Drowning is all down picking and pinched harmonics and it possesses a wicked groove to it. The way the album has turned out, avoiding light speed guitar and blast beats means they have worked harder to make each song hit, and hit well. Everything is ‘just so’, not a hair out of place or wasted ideas.
With Each Voracious Lick, our penultimate track keeps us in the lower regions of the guitar, with some seriously low vocal work here that compliments and the final track, well that is just a barnstormer. Drawn To Drowning is all down picking and pinched harmonics and it possesses a wicked groove to it. The way the album has turned out, avoiding light speed guitar and blast beats means they have worked harder to make each song hit, and hit well. Everything is ‘just so’, not a hair out of place or wasted ideas.
Its original, well-thought out and incredibly confident material that others maybe should look at for what makes for great death metal. October shows no sign of slowing down, with releases stacking up but this is special, and you should make every opportunity to get hold of this and savour it. Brilliant stuff!! 9/10
Sinistro - Vertice (Alma Mater Records) [Rich Piva]
If gigantic epic doom/post metal the likes of Paradise Lost, Cult Of Luna, and Alcest floats your boat, but with female vocals sung in Portuguese then the new Sinistro is for you. The band is back after a lengthy time off with a new lineup and new album, Vertice, but the same huge sound that got them signed to Season Of Mist back in the day. There new stuff is even bigger and more grandiose and should bring some new fans to the fold.
I have no idea what she is saying, but Priscila Da Costa’s vocals on Vertice are amazing. Check out Elegia and Pontas Soltas for proof. Musically you can tell this band started as an all-instrumental band because they can really create some very cool doomy atmospheres that could live alone without vocals but that voice makes the songs on Vertice even better, with the opener, Amargura, as a great example. I like to spooky doom vibes on O Equivocado that goes heavier on the keys with great success. The record is long and require patience, as Vertice is six songs and almost an hour, so be ready for that. It does get a bit much in places, and especially will for the people with a shorter song attention span.
Sinistro can play, Priscila Da Costa can really sing, the band can put together some serious arrangements, and they sound super tight. Vertice is a bit long, but if you like your doom big and epic the new Sinistro should be enjoyable for you. 7/10
Sinistro - Vertice (Alma Mater Records) [Rich Piva]
If gigantic epic doom/post metal the likes of Paradise Lost, Cult Of Luna, and Alcest floats your boat, but with female vocals sung in Portuguese then the new Sinistro is for you. The band is back after a lengthy time off with a new lineup and new album, Vertice, but the same huge sound that got them signed to Season Of Mist back in the day. There new stuff is even bigger and more grandiose and should bring some new fans to the fold.
I have no idea what she is saying, but Priscila Da Costa’s vocals on Vertice are amazing. Check out Elegia and Pontas Soltas for proof. Musically you can tell this band started as an all-instrumental band because they can really create some very cool doomy atmospheres that could live alone without vocals but that voice makes the songs on Vertice even better, with the opener, Amargura, as a great example. I like to spooky doom vibes on O Equivocado that goes heavier on the keys with great success. The record is long and require patience, as Vertice is six songs and almost an hour, so be ready for that. It does get a bit much in places, and especially will for the people with a shorter song attention span.
Sinistro can play, Priscila Da Costa can really sing, the band can put together some serious arrangements, and they sound super tight. Vertice is a bit long, but if you like your doom big and epic the new Sinistro should be enjoyable for you. 7/10
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