Wednesday, July 31, 2019
There's a new rhythm section here, which might account for some of the differences, but I think this one actually takes a little more of an Opeth influence circa Blackwater Park or Still Life and imbues that with some riffs and rhythmic patterns that their countrymen simply wouldn't have thought up. So if you miss those records, I'd definitely give this one a listen. Another alternation here is how Alexander's vocals seem more fleshed out and emotional crushing. Rather than a static, competent guttural, he's sustaining longer growls that shift more in pitch, ebbing and flowing like a tortured shoreline under the tides. There's more of a rasp to some of his lines, and it's just far more risky and involved than what he was doing on the last one, and to me an improvement. As far as the quality of the melodies and harmonies, I'd say this one is in lockstep with its elder sibling, not being more memorable although at times it does cover a little darker terrain. The drums are also noticeably more busy, which naturally suits the shift in intensity, without losing any of the subtle skill that was on exhibition in their recent past.
In all, they just take a lot more chances, and the songs end up a lot more diverse than either Winged Waltz or Tunnel of No Light. Rhythms break and resolve, note patterns get more complex and can take a few listens to really absorb, and it's very far from predictable...I had no idea what was going to happen around any corner, and I loved the harder hitting direction taken on tunes like "Stars Starve Me". But don't get me wrong, the record as a whole flows just a smoothly as its predecessor. Like the last album, the lyrics are actually pretty well written and can be interesting to read along with as you listen. Sure, they've dowsed with the same tales of woe you're going to expect from this niche of doom metal, but that doesn't detract from how you'll actually feel like they were penned with some genuine emotional ballast rather than just configuring a bunch of words that fit the style. All told, In Splendor Below is another very good album, well worth the time if you're into these dramatic and melodic Swedish death doom bands, just as fine as Winged Waltz, and to some will undoubtedly prove superior due to the increased level of instrumental activity.
Verdict: Win [8/10]
Monday, July 29, 2019
Winged Waltz is, as expected, a slight gradation on their style, well written and patient throughout, capable of creating emotional weight, although it's not as dense as some of the material they've put out in the past. The compositions here almost feel lighter than before, still espousing the melodies and harmonies that define their overcast atmosphere, but letting the heaviness shine through more from the listener's response than by dumping massive gutturals over your head and Brave Murder Day style walls of melodic chords. Fear not, there are still growls aplenty, in fact that's the default for the record, but the guitars thread along through more dynamic ideas, from darker muted picking sequences to rain-glazed, open sky melodies. It's important to note that they put some effort into their heavier rhythm guitar patterns, so they never feel generic, and allow the bass lines to crawl along on their own at some points, the guitars entirely vanishing or pausing just to let a simple, sad melody ring out over the low end grooves, as they do in the depths of "Reckless Abandon". The drums are likewise good, they might not require much energy or aggression, but there are little details in the fills which constantly keep them interesting in a style which doesn't generally demand much of them.
The cover art is a little dull, I'll admit, but all the more reason that I was pleasantly surprised as I listened through this, because I think it's superior to its predecessor Tunnel of No Light. If you've spent hours immersing yourselves into the depths of albums by mid-era Opeth, late 90s Katatonia, Novembers Doom, Daylight Dies, Draconian, Swallow the Sun, or In Mourning, then this is a record which will rekindle memories of wandering, sorrowful creativity, interspersed with a little bit of heavier prog-edged death metal groove. There were few moments among it's 50 or so where I felt like I wasn't being drawn directly into the gravitation of the band's collective depression, and there are lots of catchy riffs here that rang out to me long after the tears dried. Good lyrics, really great production if you're a fan of polish and clarity, I think this one's been somewhat overlooked and is arguably their second best recording to its day.
Verdict: Win [8/10]
Friday, July 26, 2019
Yes, the way this one works is how it shoots for not only old school riffing structures and vicious, lived in, authentic German speed metal vocals courtesy of Mr. Dirk, but how the production on the album really matches those things and sends you back, without being too blatantly retro. The guitars sound very organic, without being overbearingly saturated, and even though they're mostly playing the sorts of riffs we've heard from this sub-genre for like 40 years, they're absolutely timeless in these players' hands, even more impressive because both of these dudes, Robert Altenbach and Mischi Meyer, are new to the band for this freaking album! The rhythm section here is definitely playing at a power metal level, with thundering kick drums and arguably more energy than back in '85, a firm presence to the bass even though it kind of seems subservient to the other instruments. The riffs here are almost all pretty pure heavy/power metal, but they don't sound overbright or overpolished, so it more resembles the Priest-laced power that was emerging in the 80s rather than the bubblegum stuff like Dragonforce, and within that realm they've got a diversified riff set that makes for a well rounded effort, from the killer "Judgement Day" to the warlike setup of "Carnivore Flashmob" (what a title!).
Dirk Schröder sounds pretty amazing, I mean he's a lot less rough around the edges than he was on the mighty "Metallian", but still has a nasty edge to his voice when he wants, and he's easily the highlight of the record. Some of the backing gang shouts hit, others miss, but overall the verses and chorus lines are very well put together, and when the bands gets to its most dirty and speed metal in cuts like "Blood and Leather" or "Ministry of Metal", it's pretty awesome. Honestly this one falls in between a Hellish Crossfire and a Screaming for Vengeance, or rather a cruder Painkiller. If that sounds like what you'd like to hear from an Iron Angel comeback then you're in for a treat. Not perfect by any means, but seasoned and fearless, certainly a step above their sophomore in '86, and enough to forgive the lackluster attempts at new material since that point. It also looks a little bland, the cover art choice was a safe one if you've seen their first two records, but who cares when I can crank this on the car stereo, lower the windows and feel like I'm 16 again, just got my license, my hand-me-down jalopy and can maybe, just maybe imagine that I'm cool enough that a girl might talk to me.
Verdict: Win [7.75/10]
Wednesday, July 24, 2019
The EP features three songs, two of which are new to this release, and the last a live recording. The mix on this material sounds fantastic, with the vicious and bright guitars, sturdy bass tones, peppy and punishing drums, and most importantly, Tom sounding as nasty as ever, with a nice sustain and distance to the production of his vocals, even if the lines themselves aren't that exciting matched up with the rhythm guitars. Now, "Partisan" itself is a fairly average, mid-paced thrasher for the group, with riffing structures that sound familiar, as if they were patched together from other Sodom tunes, but the studio quality definitely lifts it up a notch, and it has a few nice lead guitar details in there and a general hellishness which maintains the momentum they achieved on their 2016 full-length. It's the sort of tune that would sound pretty much at home on Agent Orange minus the production difference.
"Conflagration" is the other n00b here, a slightly more punk-fueled cut which didn't really hook me until the more atmospheric vocals leading into the bridge, and then a nice neck-jerking pure 80s mosh riff breaks out and you kind of forgive the earlier blandness.
The live tune, "Tired & Red", actually sounds pretty fantastic, from the 2018 Rock Hard fest. I really love how the vocals sound, they're a little loud compared to the guitars, but very menacing with the effects, Tom sounds as seasoned as ever. It might not be enough to add a lot of value to this EP's existence, especially if "Partisan" and "Conflagration" end up on a more substantial album, but at least what is presented here is presented well, and that goes for the entire release. The songs don't hook me like "Sacred Warpath", "Blood Lions" and "Caligula", but certainly they show there is plenty of oomph left in the Germans' arsenal, and I've got no reason not to remain excited for what they come out with next, although the long-term value of this EP, sans the great black & white cover art from Roberto Toderico, is anyone's guess.
Verdict: Indifference [6/10]
Monday, July 22, 2019
The material is reprinted faithfully, but there has been a little bit of mastering here to bring out the music's sinister fleshiness and perhaps make it more tolerable to ears weaned on their studio albums for the last 30+ years. I can't promise you that they are all that much more listenable, since the dirty guitars are a little buried beneath the tinny, driving beats, bass throbs, and messy as fuck vocals which remind me just as much of old demo-era Voivod as anything else. In fact, like those Canadians, you can really hear the punk roots in this material, which Sodom would of course revisit more directly in their 90s recordings. However, while I admit that even In the Sign of Evil and Obsessed by Cruelty aren't the greatest studio works out there, and I'm more of a Persecution Mania/Agent Orange guy, I have to say that the album versions are just so much more sinister sounding to my ears than what is represented on these demos. The vocals are so much more 'together' and vicious, while the guitars sound gut-wrenchingly evil despite their primitive tone and construction.
So this really does end up only in the sights of those purists and completists who want the most original recordings they can find of their favorite, veteran 80s bands, of which Tom Angelripper and company certainly qualify. I respect the decision to make this available in as close a 'real' form as the band was comfortable with, only adjusting a little of the mix for modern hardware, so that fans don't have to hear it on the usual bootlegs or just crappy .mp3s uploaded to the web, but I wouldn't even listen to this over the material on The Final Sign of Evil re-recordings they put out back in 2007. It's worth a few True Evil Points to have in your collection but I bet for most folks it just sits there while they listen to "Sodomy and Lust", "Nuclear Winter" and the 1986 version of "Proselytism Real" all over again. Still, this collection is EXACTLY what it set out to be, and you can pick from cassettes, vinyls or CD, whatever poison you prefer, so I'm not about to dump on it all that hard. If you woke up this morning and suddenly found yourself demanding that you own the Sodom demos, or the world would end, then they've got your back.
Verdict: Indifference [5.75/10]
Friday, July 19, 2019
Whereas earlier albums in the prime of this band focused very heavily on the guitars to create the action, offset by the Takis bark, this one features so many different vocals floating about its neo-classical narrative that sometimes the guitar melodies have to settle for the background. So a lot of the orchestrated influence is still present here, but they do their best to render it all down to that simple, heavy metal riffing which has long made bands of this scene more distinct from the blast oriented, chord-streaming black metal acts of Northern Europe. There aren't a lot of guitars that stand out quite as much as their later 90s fare, but they manage to make the tunes soar emotionally and really leave the impressions of these ancient religious clusterfucks that shaped faiths, nations and peoples. The album has a very thick, bombastic atmosphere thanks to the thundering beats and the simple depth of the rhythm guitars, plus the mournful timbre in most of the vocals. There are a number of riffing passages here which are just borderline doom, and each tune tends to take its time with just a few basic ideas and not become too cluttered...
Which helps when you're involving the choirs, the varied vocal styles, and other atmospheric embellishments, since the album feels more genuinely realistic, a solemn mantra of antiquity channeled through electric guitars, percussions and growls. Granted, this album sometimes has a lot more in common with Batushka or Therion than A Dead Poem or Sleep of the Angels, but if this is the direction Rotting Christ is determined to explore forevermore, then at least I can appreciate that they're pacing themselves to offer the listener some real gravitas, some sadness, some stakes to the topics they explore. The lyrics here are a mixture of quotations from authors and philosophers, and then very simple repeated lines of imagery that represent the Biblical subjects at hand, which is to say they aren't getting minimal simply out of laziness, but for aesthetics. And that is what The Heretics comes down to, orchestrated drama they've been exploring for the past decade, only this time it has a little heft to it. I was rarely mesmerized by the record's austerity, but it got a couple hooks into me early and kept me listening through a number of cycles.
Verdict: Win [7/10]
Wednesday, July 17, 2019
Again, this is not super blasting black metal territory, they can pull that trick out of their collective hats if they need to, but this is more about the varied, slower riffing which draws a lot from thrash metal, but due to the exotic note and chord patterns, the raspy vocals, the choirs and synthesizers and the mighty drumming which feels like the advanced course to Celtic Frost or Therion's foundation. Considering the amount of musical satisfaction you get, they rein a lot of the tracks in around 5-6 minutes, with the exception of the finale, "Ouroboros Dweller (The Dweller of Barathrum)", that clocks in over 8. Within such a humble span they get a lot accomplished, each set of riffs feeling like it tells a complete, grandiose story, and it does, a saga of magic or mystery which transports your mind back several thousand years despite being conveyed to you with instruments that weren't used in this format until fairly late in the 20th century. While the great lyrics often delve into the 'evil' that the album title hints at, Varathron is musically pretty consonant and warm on this record, and I think it'd honestly make a great gateway for fans of epic heavy/doom metal looking to break into the black metal field but striving to avoid the cliches they might not like of lo-fi production and cold Nordic blasts (their loss!) It's just that universal of a sound, despite being part of such a tight regional style.
All the instruments sound clear and effective, and the band can seamlessly mix in acoustic passages to heavier riffs, while Stefan Necroabyssious' primitive grunts are far more effective than you'd think from his range, somehow managing to sound just as distinct and glorious as the brighter melodies of the instruments, only with that crude edge. I don't know that the riff level here is such that every pattern is insanely catchy by itself, but combined into the whole of Patriarchs of Evil, there are few notes here that I'd really want to change. It all serves the mystique of the band's occult explorations well enough that you can forgive an occasional dud, and I admit that this is one of those albums that has continued to grow on me since I first started listening. I'll rate this one even higher now than I would have one year ago, and I think it's very close to being on par with their last (and my favorite) full-length, missing only by a fraction which I'd attribute to just having a stronger connection to that mildly darker experience. But stylistically this is on point, and an essential Greek black metal disc for anyone into their past works or those of their better-known, ailing countrymen.
Verdict: Win [8.5/10] (storms and dead suns)
Monday, July 15, 2019
Heavily varied, constantly interesting, majestic Hellenic black metal, with many know is performed out in a slower fashion than their Scandinavian counterparts, though Varathron can bust out a blast at any second they desire and maintain the same quality. It's all about the mystique, the representation of ancient Gods, temples, and the occult, cultivating nostalgia for fallen times while simultaneously resurrecting it forward to future generations. Grand melodies play out against thundering currents of drumming while a humble rasp leads it all like a tour guide through a violent midnight bacchanal. You can always tell that this crew is putting constant effort into how to piece together their tracks, and I can't imagine any diehard for the classic sounds of Rotting Christ and Varathron not falling for "Sinister Recollection" and "Utter Blackness" upon first listen, they are so well composed and such a dependable manifestation of that scene's cult sound. As for the titular intro piece, it's just some strumming strings with a few rasps above them that let you know the feast is about to begin, and I don't know that it stands on its own quite as much without what is to follow.
Now, if the EP were just this new material I'd rank it accordingly alongside the previous album, but the remaining tracks are from a live gig in Larisa, Greece...and they also sound pretty damn good. The mix is quite clean, permitting you access to the intricacies of the picking, the bass and drums and vocal slather without anything wresting dominance away from the rest. The material is also very level sounding even where it's drawn from such a big spread of their career. "Unholy Funeral", off His Majesty at the Swamp, sounds just as impressively potent as "Kabbalistic Invocation of Solomon" off the last record, and everything fits in so well to the performance, from the choirs and dark ambient back-scapes to the metallic core of the band. The result is that this whole damn EP is worth hearing and owning. You won't find the studio tunes or live cuts elsewhere, everything is quality checked and if you've been into any of their stuff ever (sans the lukewarm Crowsreign) then they've got you well covered.
Verdict: Win [8.25/10]
Friday, July 12, 2019
Admittedly, I find both of these renditions a little dull, lacking the crushing potency of the original incarnations. The mix is quite consistent, the riffs performed well, perhaps even more 'balanced' across the speakers, but as soon as I go back to the brighter, album version of "Crushed", it just emotionally and sonically violates this new version, sounding like the genuine Florida death metal that put the band on the map in that 'second string' of bands beneath the legends like Morbid Angel or Death. The older version does feel a lot more youthful, maybe even disjointed in a few of the transition areas, and the remake is smoother in that area, I'll grant it, but the overall mix just has nowhere near the same level of energy for me. This is doubly the case for "Artistic Butchery" which also seems like a more lifeless version, and I get that it's 'death metal' haw haw haw but really there is no point to hearing the new over the original. The one thing that does remain very consistent between the two eras is the vocals, which sound almost identical on a good number of their lines.
So while this is only intended as a limited edition collectible and nothing to take so seriously, I have to say it doesn't do much for me whatsoever. The one positive is that it made me listen through those first two records again, which are slightly underappreciated gems from the 90s era, but I wouldn't go out of my way to hear either of these again. They don't suck in terms of production, but lack the personality in 2018 that their forebears had in 1993-1994. Skip it and listen to those albums, or even their last record Sea of Ignorance, which is much more exciting with its newer material.
Verdict: Fail [4/10]
Wednesday, July 10, 2019
The core lineup here is down to just Lizzy and his brother Joey Scott Harges, with the former handling all the instruments other than a couple keyboard parts, and I think you can feel a little of the lack of intricacy or impressive guitar licks that defined career highs like Visual Lies and Master of Disguise, but what is performed here is at very least in line with what a modernized vision of the band might be. I'm occasionally reminded of the 90s Queensryche material, which devolved into a sort of progressive alt rock still carried by Tate's vocals, only Lizzy Borden keep things a little more metal and anthemic front and center, and just better. There are a lot of pretty obvious riff lines on the album, with predictable progressions to choruses, and the leads here are far too simplistic and don't do much to make an impact compared even to the chords surrounding them, but some of the stuff is still pretty sugary, catchy and dramatic. As for his voice, I'll once again make a comparison to Geoff Tate, since the two are quite similar in inflection, and also that Lizzy, like Geoff, isn't quite as screechy and wild as his youth, but remains very competent in rage, and there are certainly a lot of his self-harmonies here which could have appeared in the later 80s and nobody would be the wiser.
My Midnight Things clearly has a more 'rock operatic' approach to it that most resembles Master of Disguise, almost like a Part II to that record, with songs that aren't quite as impactful or resonant, and a tendency towards some redundancy as to how a lot of them progress. Despite that, I still felt myself getting drawn into a number of them, I only wish they had been trussed up with better lead guitars, and riffs that were a little more interesting individually, even if in a pop-like sense they do flow well as a whole. It seems like a lot more of the gaps between the simpler rhythmic components are just filled in with synthesizers, and while they're not unwelcome, they're not so compelling in most instances. Lyrically, it's about on par with Master of Disguise, hard rock lyrics with a larger than life feel to them which seems very personal to this character that is Harge's 'Lizzy Borden'. One thing I did truly hate on this one was the new version of "Waiting in the Wings", modern and poppy and more electronically infused than the original and it just does not work, even if he can still hit those notes in the chorus. Otherwise it's a passable record that suffers somewhat from lacking the full spread of weaponry that Lizzy Borden offered with a full roster in the 80s. Decent ideas for vocal hooks, solid drums, but the rest could really have been improved upon.
Verdict: Indifference [6.75/10]
Monday, July 8, 2019
So yeah, hideous lo-fi death/doom drudging that sounds enormous despite those factors. I love the integration of the cheery keyboard lines which feel like they were taken off some incidental Xmas record, or some cheesy mid-90s black metal band like Ancient. The vocals are gruesome snarls that are heard well above the music itself, and the overall atmosphere is suitably fun and still heavy. I wouldn't call the riffs in this one their best, but they are dynamic and groovy enough in a succinct tune like this to keep you from growing bored. The second tune, "Christmas Evil (You Better Watch Out!)", was my preferred of the two, opening with a sample from the trailer of the 1980 film of the same name, but then going into this classier doom structure. Lyrically, yes, each of the tracks is based on the eponymous slasher films, which is really par for the Acid Witch course and one might even hope they do a lot more such 'theme' EPs since there's a lot of turf to cover in the horror genre.
There's not a lot of meat on the victims' bones here, but it's a two track EP for $2 on Bandcamp, so there's not much cause to complain, especially when they're well enough written that they could have appeared on Evil Sound Screamers. I think the love of these films shines through in just about everything Dave Slasher and friends put out, and since my own fondness for campy old horror flicks has only grown with age it's something I look forward to. I'd also take the opportunity here to plug his solo synth/score project, which is really well done.
Verdict: Win [7/10]
Friday, July 5, 2019
This record moves. And it is angry. West Coast thrash metal evolved to incorporate a wide array of influences, between technical thrash and groove metal. Flashy, well-written solos sputter out from the gapless network of energetic rhythm patterns, while the bass and drums keep really damn busy forcing it all into the same concrete lattice of impenetrable power. I will say this album has a higher ratio of forgettable riffs than the two before it, but not for lack of trying, it's just that its particular configurations didn't quite worm their way into my earholes as much. I mean, when you get down to it, while a lot of the material here is very well arranged, it's just not so catchy and feels like a lot of material you've heard from decades of thrash bands, only paraphrased into more punchy cuts. Mark Osegueda's vocals here feel a little more pinched than the last couple discs, and there were also some lines where I thought he sounded so much like Erik A.K. from Flotsam & Jetsam that I had to look up that he hadn't taken over those duties for this album. Weirdly, I think I was more into the drums on this than the last two albums with Will Carroll, perhaps just a dash more potent personality.
They bring in a few guest soloists like Alexi Laiho of Children of Bodom and Jason Suecof of Capharnaum (and recording engineer of many well known records), but I hardly noticed because the band's own guitarists could probably have done with them equal flair. I dug quite a few of the songs, but if I were to pick a few out of a lineup with the three albums before it, they'd have to be "The Pack" for its more interesting rhythms and well timed gang shouts, and "Revelation Song" because it very much took me by surprise with its huge heavy metal riffs and great, groovy rhythm bridges during the leads. Basically the tunes where they sort of break off from the dextrous clip most of this material is flying past at. But in the end, Humanicide is well in line with Relentless Retribution, The Dream Calls for Blood and The Evil Divide as the most consistent streak the band has ever had in its decades of existence. No, I'm not going to pull this off the rack over "Evil Priest" or "Voracious Souls", but any of these four albums would sound great through the car speakers when I just want a thrash album that cares about what the fuck it's doing. When this phoenix finally emerged from the creative ashes about a decade ago, it decided it would stay aloft.
Verdict: Win [7.5/10]
Wednesday, July 3, 2019
The fact is that this lineup really gels here, and the rhythm guitars are fucking intense and like the album before it, just flooring you with the sheer number of riff patterns that are strewn about the 45 minutes. Probably a higher count than any other Death Angel disc, or most thrash records for that matter. The bass tone is nice and fat and given some air to breathe in a few tunes. The leads are quite good and superior to the previous album, and unlike a lot of peers that are spewing out modern thrash records after 30+ year careers, The Evil Divide seems capable of putting in some genuine emotion without getting to cheesy, as on the riffy, memorable "Lost" where Mark lets his cleaner, more sustained vocals and harmonies reign. On a lot of the material, he actually gets a little more grit to his voice than on The Dream Calls for Blood, although that album might have felt heavier in sum because of its more abrasive, crunchy guitar tone. I find the instrumentation just in general seems as if its more practiced and effortless, but also more inventive and melodically imbued to stick to the listener's brains long after the death's head moth has fluttered away. Speaking of that, it was a little strange that they dropped the horn-crowned wolves which they had been using on the two albums prior and then also on the follow-up to this.
Death Angel got a lot of good buzz off this one, and for an understandable reason. Re-evaluating my own feelings on it, and getting back into it, I feel like it's even better than its predecessor, although there was a time when I might have told you differently. Mature, intelligently written, about as far from the run of the mill pizza thrash that these guys and their Californian peers inspired throughout the early '00s as you can get. The Evil Divide is still a catchier album when I'm listening to it than when I'm not, but that said I do keep a couple of its hooks stored in the grey matter when I'm thinking about the band on the whole. Had this album come out in about 1992, even with a slightly less professional production, I think it would have been the stuff of legend and blown peoples' heads off, it certainly eviscerates The Art of Dying and Killing Season, to me the nadir of their career, those early 'comeback' albums that didn't wholly justify the return. At any rate, folks looking for detailed, dynamic thrash metal which isn't afraid to stretch its wings out will very likely appreciate this one.
Verdict: Win [8/10]
Monday, July 1, 2019
Part of this is Mark Osequeda's angsty, nasally vocal style, somewhere between Joey Belladonna and Russ Anderson in strain and tone, he just injects this edge to the material which aids even the less inspiration riffs here. And riffs there are a plenty, some of them memorable and nasty, and others just seem like they're going through the motions to play with their pretty distortion, but like a modern Artillery, they keep throwing them after you and never really running out of ideas, and I think there are far more winners here on The Dream Calls for Blood than there are losers. It's also a creative record, they'll bust off into some hard rock grooves, or some floatier atmospheric section without warning, helping to round-out the majority of the meaty thrashings, Cavestany and Aguilar are legion when it comes to the rhythmic syncopation and if you're looking for some neckbreaking I think this album really delivers. Leads flurry on by with bluesy abandon, all flash and testosterone and entirely suited to the massacre going on, while the combination of Will Carroll's seamless beats and those rhythm guitars create an appreciably intense lower end to the record. Granted, I think the drums do lack a little nuance and personality, but they're not really what I focus on here.
The lyrics are all about rage, revenge and other thrash-worthy feelings, perfect for the adolescents attracted to this subgenre, but not written cheaply or stupidly. There's a cover of Sabbath's "Heaven and Hell" which is played pretty close to the vest, but due to the mix it fits right in with their own original material, and Osequeda is up to the task although some of the oohs and aah lines have a cheesy delivery (not that they didn't in the first place). So when I think of veteran thrash acts who have thrived with a new, blockbuster sort of production fitting to the loudness levels of the 21st century, Destruction's The Antichrist always comes to mind as the exemplar, and there are no tracks here which are nearly on that level of me wanting to constantly hit replay until I've worn my finger to the bone (or the CD to slag). But I think much of Death Angel's modern material certainly passes a quality check, using its tools well and not just a overproduced, overinflated bore like these enduring bands often put out with their bigger studio budgets. The Dream Calls for Blood is frankly one of Californians' best albums period, a very well balanced attack. It's no Ultra-Violence, an anomaly borne from the members' then-youthful creativity and raw aggression, but it'll do in a pinch.
Verdict: Win [7.75/10]