Gukurahundi - An Apparition In Nocturnal Splendor (EP) (2013)

Put yourself into this scenario: form a band, write and record and EP, and release it, all in the period of months. Some will think this is an easy task. Those who have been through the process know that it is, in fact, an undertaking that requires a great deal of dedication, not to mention a reservoir of talent and creativity to fish from. When Lawrence Nielsen and Pete Colucci came together under the banner of Gukurahundi in late 2012, it wouldn't take long for things to take hold, and music to come to the masses. Released in April 2013, their debut EP saw the two bring black and death metal together. It isn't a new style, or even a new take on an old formula. But their insistent grooves and unrestrained energy makes for a lethal combination, one that can be felt in all five of the tracks provided here. With guitars as far as the ear can hear, a voice that will frighten children and the elderly, and a a drum beat that could open the Earth, "An Apparition In Nocturnal Splendor" is the first in what will hopefully be many albums to come.

If subtlety is your endgame, it'd be quite evident that you have stumbled into the wrong part of the neighborhood. The title track is a euphoric blitz, a grinding attack that refuses to be dismissed or pushed aside. Most notably, the combination of speed and precision in the verse and chorus sections is a beacon for those who appreciate the more dire arts. But buried beneath the machine gun drums and high speed riffing is something a bit more substantial. Rarely do you find a groove in blackened death, and there is a driving one here, tucked snugly into the bridge. Perhaps the most interesting battle going on is the one between the music and the mix; an ongoing tug of war between a flat mix and a vibrant output. Even "Dethroned" isn't immune, though the effects are isolated to the opening moments. If anything, it gains steam as the track goes on, showing signs of much needed versatility in both vocal and instrumental. Vocalist Pete Colucci wanders from the high tuned screeches, adopting a deep growl that may loosen a few bowels along the way. It reveals depth, and, in turn, opens doors.

But much like the opening shots, "The Anarchist" removes all traces of restraint, opting for an in-your-face- combination of wild riffing and grating vocal lines. Guitarist Lawrence Nielsen, responsible for all of the string work on the record, is his own best friend and worst enemy. His leads are crisp and clean, driving the track forward at breakneck speeds. But his rhythm work doesn't always elevate it the way it could. The outro here is a good one, single riff and ambient waves. A step away from the edge, the band backs up on "Sombre Dreams To Gaze Upon," a short interlude that removes the raw element from the mix, and injects and bluesy emotional investment, captured through Nielsen's solid guitar work. It seems simple, but it is a far more rich minute and a half than one listen would indicate. But after all, it is exactly that; it's the breath before surfacing, or the breath before drowning. The flow of the album is no surprise, really, but the jump from soothing to savagery is still a shock to the system. If the previous track is a light stroking of the hair, "The Carcass Of Christ" is the immediate chop to the throat. Drummer Cameron Zuccarelli isn't in the business of clap beats or click tracks; his hands at the sticks furthers the stomping groove and thrash that blossoms in full on the finale.

One listen to the album, and you would be hard pressed to see through the top layer of distortion and reverb to the depth below. But when dealing with Gukurahundi, you can't be deterred so easily. At first listen, this is a text book blackened death album, screams aplenty and blast beat heavy. And yes, it is all those things. But it is also more. There are hidden grooves scattered throughout the disc, just below that top layer, that help it to stay afloat throughout the course of five tracks. It isn't a perfect combination, though, as the tracks do, at times, sound one dimensional and limited in their reach. But there is room to improve and room to grow, something that will undoubtedly happen over time and with more experience under their belts together. In fact, with new material being written and demoed, it might not take long for this three piece to realize their full potential. Regardless of where they go from here, this is a strong debut in a subgenre that isn't easy to break into. Going forward, "An Apparition In Nocturnal Splendor" will be a measuring stick for future efforts.

7.5/10

Bandcamp - http://gukurahundi.bandcamp.com/
Facebook - https://www.facebook.com/Gukurahundi

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Idensity - Chronicles (2013)

With the turn of the new year, and a return to writing regularly and confidently, I must admit that ime got away from us for a while. Albums flooded our inbox, and most of them sat, unheard, for far too long. Idensity, a French six piece, became a casualty of a schedule packed far too full, and time running far too short. Their album, in hindsight, would have made for a shining addition to a top ten list, or even a past podcast. But alas, as wise men once said, you either do or don't, but you can't catch up. So, months after intended, it was time to immerse ourselves in what was a violin driven death metal album, or so we thought. Instead, this sextet is doing something else, and might even be doing themselves a disservice with their own description and reasoning. For on the eleven tracks that they have titled "Chronicles," you have something as beautifully balanced and mind numbingly heavy as a piece by Wagner. All with the flare and delivery of the genres best. Whether it is just one listen or fifty, you might not be able to get enough of this pairing.

It is the title track that opens the album, and it is the title track that cements what this album is all about. The strong orchestral backing isn't a one off, or a feature; instead, it is the splash of color an album of this type craves. While vocalist Christophe Ferreira growls and screams has way through the verse, a bevy of horns and strings rings out behind him. They are not alone, of course, as a full range of guitars, drums, and bass form the most prominent piece of the puzzle. But it is the final stages of this track that ring most true, when all of those elements solidify into one. They have found the fabled place that resides between death and folk metal, and "Over The Abyss" illustrates it with vibrancy and depth. A wall of chugging guitars looms large, but with a much neater presentation than many other bands of the same ilk. Heavy passages, dominated by distortion, are quickly offset by violins or fast fret work. All of the intricacies of the track add to its appeal, broadening the audience by the note. Clean vocals may not be the greatest strength of the band, but Ferreira makes them worth using. Though, compared to the hauntingly delivered female vocal that comes and goes, particularly in "Sekhmet," his voice can't compare. The track explodes at every turn, winding violin work tying knots around what is already devastatingly heavy riffs. This would be the clincher, if there was any doubt about your feelings thus far.

If clarity is needed, songs like "Mofa" reinforce that this isn't a death metal album with a violin attached; Mayline Gautié is a star all her own, adding so much depth of sound to each and every movement. She stands on the same sonic plane as guitarists Antoine Leboisselier and Lionel Nardari, a difficult and risky gamble, but one that pays off early and often. Even with no vocal component, it seems to tell a story through its flow. It is important to note that despite the strong death and string presence, this album isn't one dimensional, or even two. It evolves and progresses as time passes, with songs like "The Seven Seals" wandering off the main line in favor of more indulgent riffing. Yet, somehow, when the clock rolls over and "Antikhristos" comes into frame, it doesn't seem strange of stilted. Balance may not seem all that important when it comes to anything death inspired, but once you've found it, it is impossible to let it go. And once again, Idensity are in rarified air here, walking the tightrope between heavenly strings and beautifully crushing guitar strokes. And while he may be resting comfortably behind so many of the layers, drummer Jean Philippe Ouameris never short a blasting snare or set of double kicks to hammer each segment home. He is the constant between the two sides of the band, tying beauty to grim reality. His cymbal crashes alone make "Typhoon" the melodically charged, distortion fueled masterpiece it is.

As varied as the album can be, even following their trajectory here wouldn't lead you to what "Maddhi's Arrival" does to you. Sublime orchestration and instrumentation, drums that fire through your speakers like crisp, individual gun shots, and an ethnically tinged theme make this stand out in the best possible way, without interrupting the flow that the other tracks have worked so hard to strengthen. Thanks to the dedication to songwriting, the album does not limp into the final trio of songs, but comes sprinting toward the finish. "Annunaki" may not boast the strongest vocal lines, as Ferreira relies heavily on his clean vocals to carry the weight here, when his rich growls might have been better suited to take the majority of time. That choice aside, it is more of the same here, heavy riffs, strings aplenty, and a focus on how they all come together. Trading in the brutal in favor of the majestic and atmospheric, "Mantra" is the only track that seems almost out of place. Not in structure or sound, however, but in concept. It gives away some of that balance, leaning on clan vocals and background melodies to fill out the five minute plus runtime, but it doesn't seem to have the pop it needs. Luckily, "Loki" has more than enough to go around. Diabolically coarse, and yet somehow artistically refined, it hits the notes you would expect the closer to hit, while still furthering the high arching scope of the album.

The scoring debate often boils down to a handful of criteria, but there are two questions that can trump the others; is the album great on the first listen? Will the album still be great on the 100th listen? The answer to both of those questions will very quickly help to formulate a rating. And when the answer to both is a resounding yes, as it is with "Chronicles," there is very little left to decide. Idensity didn't stumble onto this formula by luck or chance; this was a calculated and meticulously organized effort from start to finish. After all, coordinating a full range of orchestrations in with a traditionally guitar dominated mix isn't something you do at the last minute, or the last day in studio. It has to be planned and cultivated to make sense. All of those pieces fit together in such a way, it almost seems like they were meant to be. Trust me, that is not a call for all death based bands to explore the word of strings and horns. Those results would be mostly frightening, and sometimes nauseating. But for Idensity, this is now their home. This is a place they can return as often as they see fit. And we will be waiting there to hear more.

9/10

Official Site - http://www.idensity-metal.com/
Facebook - https://www.facebook.com/pages/Idensity/80551958491

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Empyrean Throne - Demonseed (2013)

California isn't the home of fake tits, surf and skate enthusiasts, and Hollywood premiers. Well, some of California may be exactly that. But Lake Forest, the home of new school blackened death sextet Empyrean Throne, won't go down as the hotbed of plastic surgery and movie stars. Founded by vocalist Andrew Knudsen and bassist John Ashbaugh, the two soon surrounded themselves with musicians who shared not only the talent, but the vision and drive to make this project everything their Scandinavian trip had instilled in them. What resulted was a brutal mix of heavy distorted guitars, and a bombastic rhythm section, and a vocal attack that could leave your ears bleeding with joy. But even with all of that upside, something was missing that would help them stand apart from the countless acts that crop up all over American every day. The string element, something made official by the addition of a skilled cellist to their ranks, is not a gimmick; it is a selling point, and a show of depth that makes "Demonseed" an album to hear.

It wouldn't take the sound of an army of footsteps to give "Death March" it's signature tone, but they surely don't hurt. Instead, the drum work of Dan Bruette does the bulk of that heavy lifting, each snare and kick mirroring the sound of a thousand steps. But don't be fooled by the battery of percussion at his disposal; this isn't a drum solo gone off the tracks. It works because of the full band effort. It boasts the intended blackened death soundscapes, but with notable twists. Vocalist Andrew Knudsen transitions smoothly from screech to growl, both here and on the follow up track, "Demonseed." He is the general commanding the brigade with his pained screams. But hidden deep in the mix, there is something else that ties the troops together. The addition of Kakophonix, the maniacal cellist behind Hvile I Kaos, is both savvy and sophisticated. His strings become an important piece of the puzzle, swirling around the chugging guitars riffs and giving them a melodic companion in their assault on your brain stem. The two axemen, Bryan Schwarz and Mike Brennan, have their hands full, both literally and figuratively, on "Nothing But Vermin." Their riffs leave no room for error or uncertainty, and the slightest misstep could be disaster. But despite all that pressure, they perform with a skill level and confidence that leaves no doubt.

By keeping the run time short, it puts certain expectations on the energy and volume levels. At barely three minutes, "The Fascist Messiah" wouldn't resonate if not for those two elements being present. Bruette shines once again, with a piece of drum work that leaves the listener dizzy and disoriented. But, to be clear, that isn't a sign of failure, but of great success. A bludgeoning array of drum beats is one of the main tenets of the death metal scene, and that fact is not lost on us here. The early stages of "A Crow's Feast" spotlights a different sort of dynamic, adding the strings of Kakophonix as almost a third guitar, along side Schwarz and Brennan. Like stunt pilots, they dart in and out of each other's paths, winding and twisting into a single braid of distortion and string bending riffs. If there was any doubt how intoxicating this music can be, the outro section here will crush it. But sublime? One would not expect that sort of description, given the amount of blood spilled thus far. But "Follow The Plaguelord," is something out of this world. With Daniel Pappas manning the piano here, you are suddenly thrown into a classical composition that evolves into a sonic assault of the highest order. There is a familiarity to be found here, a Scandinavian link to the past that has been poking its head throughout the album, but only now pops. It is as if the ghosts of Dimmu Borgir albums past have returned to haunt us in present day. This is the album's best track, without argument.

As we've noted numerous times before, you don't need to find a new wrinkle in your genre to be great; you can just be damn good at what you do. Minus the cello and string elements, and the short piano accompaniment, Empyrean Throne would still be an explosive young band worthy of your attention. But with those pieces in place, they give themselves some breathing room from the rest of the genre. The importance of creating space cannot be overstated. When all is said and done, "Demonseed" accomplishes so much in so little time - maybe bumping it's head on the thirty minute mark - that it makes you wonder if this is the perfect store of death metal. Surely they could have stretched this album out for another three or four tracks, maybe another fifteen to twenty minutes. But why would they, and why should they? These shorts explosions are memorable in so many ways, and it keeps the album from going stale early or at all. Win, win. What remains to be seen is where the band goes from here. Is this the future of death metal, before our eyes? Or will the next album be something else entirely? Color me intrigued.

8.5/10

Bandcamp - http://empyreanthrone.bandcamp.com/
Facebook - https://www.facebook.com/empyreanthrone

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Dethklok - The Doomstar Requiem: A Klok Opera (2013)

It could be said that Dethklok have always been living a double life. Sure, they are the world's biggest band in the fictional world of their cartoon series, Metalocalypse. But they transcended those four walls, and found a home for themselves in the real world, leading to sold out tours and top selling albums along the way. Their fans stretch far and wide - the world over, in fact - something that even series creator Brendon Small couldn't have possibly predicted. With the series completed through it's fourth season on Cartoon Network, a one hour special was, allegedly, going to bring the entire story to an end, following metal's greatest anti-heroes to their victory... or doom. Taking the form of a grandiose metal rock opera, "The Doomstar Requiem" is well beyond the vision and reach of anything Small has concocted to date. Teamed with award winning composer Bear McCreary, who is most famous for his orchestral work on Battlestar Galactica and The Walking Dead, Small went beyond the straight death metal roots of the world's seventh largest economy, and created something as massive and epic as the band itself.

Let it be said first, "The Doomstar Requiem" is not a fourth Dethklok album; it is the soundtrack to the mini-movie itself, something that must be understood before ever pressing play. There are a slew of highlights scattered throughout the disc, with some heavy and hard hitting as you would expect. But focusing mainly on story and exposition, you won't find very many instances of true brutality. It follows the band on their mission to, eventually save Toki from the clutches of the masked man and Magnus Hammersmith. Thus, you follow the band through the spectrum of emotions, or at least as much as they can convey. The tongue in cheek tracks, like "How Can I Be a Hero?" and "Givin' Back to You" (which amounts to a brilliantly played parody of Michael Jackson's "Thriller") are enjoyable in the scope of the special itself, but seem less so without the visual element. Outside of the heavier edged tracks, the album's highlight comes in the form of "Abigail's Lullabye," with her voiced provided by none other than McCreary's wife, the magnificent Raya Yarbrough. She sings as sweetly as any voice you've heard in your life, only with a lyrical edge ("They'll cut off our veins") that makes for a humorous contrast.

Where "The Doomstar Requiem" succeeds is in Small feeding his inner artist, something that many fans of the show and the band won't understand if they come to this disc unprepared. Together, Samll and McCreary have penned a masterpiece that extends well beyond the Metalocalypse universe. That says a lot, given the popularity that both have amassed in their careers. Fans of the show, or even Dethklok as a band, will most definitely find something to enjoy on this soundtrack, and in the special in general. But those who have avoided all contact with their work to this point should also invest the time in listening. Buried after the waves of parody, rock opera, and death metal, you have a nearly twenty four minute piece that sums up the show, it's scope, and the talents of all involved. It is in the title track, "The Doomstar Requiem," that Small and McCreary create their masterpiece. Sweeping orchestra melodies, dark tones, and a taste for the theatrical combine to form a potent mix. And that is what this disc, and this opera, are all about.

9/10

Official Sites - http://video.adultswim.com/metalocalypse/
http://www.brendonsmall.com
http://www.bearmccreary.com/

Facebook - http://www.facebook.com/brendonsmallgalaktikon
https://www.facebook.com/pages/Bear-McCreary/39808337095

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Apathy - Beneath The Ashen Sky (2013)

"Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form." That summary first appeared on our site on August 15, 2012. Having just finished a lengthy review of the then new Apathy album, "Ghost Light," we found ourselves cutting to the core of the man behind the music. Some things have changed since then, but many more have stayed exactly the same. Viktor Jonas may never be on the cover of Metal Hammer or Revolver. That is probably for the best. His music speaks far louder than any cover story or expose ever could. And the return of Apathy, only a year later, is a blessing for the death/doom genre. He is still in control of all things instrumental, from guitar to bass, drums to keys; that will never change. But he is joined by a new vocalist, and a new set of songs that embody the man himself. That is what makes "Beneath The Ashen Sky" a captivating listen from beginning to end.

Despite thinking we knew what to expect, Jonas outdoes himself early in "Leper Tides;" his drum programming has returned more powerful than before, without losing any of the punch the kick drum provides. But all of the force of the drums would be wasted without an equally commanding guitar lead, something he seems to supply endlessly. Somehow, Jonas finds a perfect harmony between all of the instrumental pieces, a tricky process that few truly succeed at. The vocal component suits the mix well, as Philip Grüning screams his way over a sturdy foundation. That analogy, the one of the building, rings true over the course of these nine songs, each track adding a new floor. On "The Burial Ground," each drum beat pounds nails and rivets into place, a series of double kicks mechanizing the entire process. But it isn't all brute force; finesse plays a key role here, as Jonas crafts backing melodies and deep soundscapes. Each layer must protect the one above and below, so their timing and balance is important, if not crucial. One misstep, whether it be in the all out aggressive section, or the smooth melodic portion, could throw the entire track off the rails. Luckily, there is no such stumble, seamlessly flowing into "Typhoon." The dynamics are the same, offsetting heavy with soft, but there is no filler here; the bass work alone would be enough to make the track stand out, not to mention the strong performance from Grüning.

As you get into the mid section of the album, there is no let down to be found. "Fear Me" embodies it's title, with Grüning's screams becoming even more chilling. The clarity here is especially impressive, with each fragment of the main riff shining through clearly and crisply. That lead is one of the more catchy riffs on the album, an incredible feat given the driving tempo and harshness of the lead vocal. This is the most pure form of death/doom you'll find, borrowing heavily from both. But like the other titans of the genre, Jonas is not content to fuse those two alone; his use of melodic elements adds another dimension. To this point, the lyrical content has forged it's own path, but on "Murder Sun," the music and lyrics come together to form an unbreakable tie. Under the hammer and anvil of Jonas, the drums pound away at your very core, all the while Grüning rains down solar charged words of disappointment and hate. Having grown tired of humanities failings, the sun becomes a terror. The lyrics speak for the music, and the music elevates the lyrics. Together, they form one of the strongest songs on the album, one that connects directly to "Amongst The Dead." The imagery here is staggering, with each screaming verse painting a bleak picture of walking through a sea of corpses, echoed by the devastating instrumental.

When the pace slows down, albeit seldom, Jonas can deliver an even bigger blow. It's in times like these that it becomes hard to believe the drums are programmed. The depth of sound he has crafted in this computer driven kit is astounding, from kicks to snares, toms to cymbals. His work on each individual piece makes the structure stand so tall, never wavering, never fearing that it could all collapse under the weight. Instead, it grows stronger with each movement, the bass and drums anchoring the entire operation. It allows Grüning to reach deep and summon every ounce of hate and rage. The reward? A two minute interlude that shows Jonas at his musical best. As dynamic as he is as a multi-instrumentalist, it is the quiet, melodic moments that best showcase those abilities. It lets his creativity shine through in ways the metal genre doesn't usually embrace. This is the ultimate show of vision for Jonas, who calmly exits his solo piece, "Luna," and forges ahead into the last track, "Endgame." once again, the transition means everything, as he flows from one to the next. No jump, no skip, just a smooth bridging of the gap from solemn to pained. It also becomes the home for some of his most subtly beautiful instrumental work, captured so delicately in the lead and drum backing.

It's hard to throw the word genius around. There will be backlash, questioning, even ridicule. But what Viktor Jonas has shown, release after release, album after album, is that he is playing on a far different level than everyone else. He is a multi-million dollar corporation, erecting a skyscraper with the help of plans, machinery, and state of the art equipment; everyone else is back in Amish country, raising a barn. That isn't a knock on other bands who dwell in the same genre as Jonas, and by no means is it meant to tear anyone down. But after hearing what this one man puts together, it's hard to believe there are even bands in the same stratosphere. But luckily, he isn't alone; Grüning has written and delivered a performance of his own, one that completes the scope of the album. One without the other might not stand as tall, or even as firmly. But together, they are undeniable in their excellence. And while many have declared the death/doom genre dead, year after year, it's still alive and well. Apathy may have just erected a new headquarters, "Beneath The Ashen Sky."

9.5/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - https://www.facebook.com/pages/Apathy/116709615006241

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