Vader - Tibi et Igni (2014)

Post-pinnacle album releases are generally among the most difficult to critique, and at least for myself, Welcome to the Morbid Reich has proven the best of Vader's material since formation. That's not to imply I don't love a lot of their older records, quite the opposite, but not only was that album my favorite metal of 2011, it attained this zenith of phenomenal songwriting, menacing atmosphere, rhythm to lead balance, and brutal indifference to arbitrary technicality despite the high level of proficiency pumping through the lifeblood of all the band members. It was as a grand conflagration/conjunction of everything I'd ever appreciated about the Poles, spawned some 20 years or more deep into their career, and a reaffirmation of what it is I so cherish about death metal as a perpetual follower of the form. It was also far more of a true 'death metal' record, at least in mood, as opposed to its own predecessor Necropolis, which clearly favored the death/thrash tag that is so often applied to their output.

Tibi et Igni, long awaited now, even if that's only across the span of three years, potentially deserves its hybrid categorization even more. While a massive Slayer influence is no stranger to the band, never has been, it's boldly flagged across this album alongside compositional cues to Dark Angel, Kreator and other extreme speed/thrash acts of the 90s, in both higher speed tremolo picked hellish 'chase' sequences and the mid-paced headbanging riots that spew forth from tunes like "Triumph of Death". While these were not exactly absent from Welcome..., they're far more obvious, pronounced due to the general punch of the rhythm guitars here, which are still as smooth as the prior works in terms of clarity, but have a bit more of a haughty bluntness to them. That said, this is still threaded with the presence of brief and effective orchestral set-ups as you'd find on its direct predecessor or Impressions in Blood, and the lead work very closely matches the thoughtfulness, restraint and catchy qualities which have maintained Welcome to the Morbid Reich in a monthly, sometimes weekly listening rotation for me years after its birth. So when I say that there's no surprise, Tibi et Igni is another goddamn great Vader album, it really IS no surprise...

For Peter is a master of his craft, THIS craft, and by 2014, deserves the status of 'death metal royalty' far more than many of his better-known American and Swedish peers. He is hands down one of the most competent guitar/vocal dual taskers in his medium, and along with Spider, metes out a strong and varied array of slashers, thrashers, spry bursts hinging on a black metallic efficacy, along with the formidable chugging that performs so flush with Peter's grainy, constipated vocal barks. Once again, we've got some new additions comprising the rhythm section, with Brit James Stewart tackling the coveted drum seat now vacated by Paweł Jaroszewicz, who hard recorded Welcome to the Morbid Reich and is now involved with fellow Polish punishers Hate. Stewart is easily the measure of most of his forebears (though most will retain an emotional attachment to the late Doc), with an ease to his blasting and grooving that fits the breadth of Vader's ambitions, though I think some people might not like the actual mix of the drums as much as earlier efforts. Personally, I found them clear and consistent, but in terms of beats and fill choices he doesn't exactly amplify the record's intensity. I'd say the same for the other new blood, bassist Tomasz 'Hal' Halicki (Abused Majesty, Hermh), whose lines are fat, functional and worthy to support the guitar duo, but not entirely interesting when they're not given some space of their own...and even sometimes when they are.

But, hey, as important as the percussion has always been to Vader's incessant sense of momentum, it's the guitars that have always made or broken their material (far more often the former), and here they blaze within a large margin of success. Tracks like "Hexenvessel" and "Go to Hell" are just stunners, the first for its tasteful weave of atmosphere and taut heavy/death/thrash measures, the second for the brazen heraldry of its intro, and the ensuing, apoplectic carnage. When first hearing that single, I wasn't too fond of it, but it has since grown on me in bounds. As for the rest of the material, there are probably a half dozen riffs which just don't hit me all that hard, partly because they are derivative of others the band has unleashed in the past (a typical complaint against Vader which is not wholly untrue), and also because...yeah, the notes just don't always add up. At other times, though, they'll launch into a slightly unexpected progression that shows they thought this through and made a conscious effort not to take the obvious path in every songwriting decision. As far as its overall strength and capability with me personally, I'd place this somewhat below the last three original studio full-lengths, which resonated with me considerably more.

Welcome to the Morbid Reich was a 'statement', both cyclic and evolutionary, cleverly adapting the title of the band's old demo and thrusting it boldly into the future-now. It was this arching, evil, and expressive triumph. Tibi et Igni, as mighty as its components, seems more like a 'holding down the fort' sort of effort. It works on all tempos, but it feels more brutal and obligatory than so incredibly inspirational as some of its forefathers. I mean it's apples to apples here. I'm biased, to a degree, because there is not a single Vader album I dislike. Even the oft-maligned Revelations or The Beast are discs I break out on occasion, because they are unquestionably the most consistent band in their scene and probably in the entirety of death metal. I doubt they've written anything I'd attribute with a perfect score, but they're often so far up the pantheon that I've built a shrine regardless. Tibi et Igni ('for you and the fire', though my translation is hazy) takes a few measly missteps, like the bonus cover of Das Ich's "Des Satans neue Kleider", which I could have lived without, though I like the original and admire Peter's eclectic tastes as always. A few of the originals could be better, but on the other hand, I'm sure I'll be spinning this through the summer months (at least) and it's got enough arterial spray and memorable meat to it that it mandates a purchase by nearly any Vader or death metal fan.

Verdict: Win [8.5/10] (no prayers will help)

http://www.vader.pl/

Vader - Welcome to the Morbid Reich (2011)

Poland's pummel-gods Vader have always been one of the most consistent and reliable acts in all of death metal, but in truth, many of their records catapult beyond that threshold to the realm of veritable classics. One of the few bands that can simultaneously imbue their works with pinpoint technicality while retaining an unabashedly old school framework of composition, they relentlessly pursue modern aesthetics without ever betraying their roots. One could listen back through their nearly 20 years of albums, back to The Ultimate Incantation and hear a fluid, formidable progression straight to their 9th full-length Welcome to the Morbid Reich, which is stylistically a sandwich of Impressions in Blood, Black to the Blind and their last, divisive effort Necropolis.

I'll come right out and say that I'm an impetuous fanboy for this band, and if Peter continues to produce such taut and magnificence exercises in technique and aggression, that status is unlikely to change until my heart stops beating, or his does. That he continues to surround himself with such crack musicians is admirable, and he's got himself a great new lead guitarist here in Spider, who kicked around briefly with a few other Polish bands. For his own swansong with the band, drummer Paul has provided an unflinching foundation over which the massive riffing flourishes; and from a production standpoint, Welcome to the Morbid Reich is infallible. Intense clarity is cast through the bricklaying vocals, the manic and beauty lead manifestations, and the concrete artillery of the rhythm section. You'll continue to hear the influences that have always been prevalent in their sound, from Slayer and Possessed to Sepultura, and even a few surgical traces of old Pestilence (Mallevs Maleficarvm era) spliced into a handful of tracks.

Honestly, for the first 11 tracks, I was in utter, crushing paradise here, because the album is pretty much perfect through all of that time. You've got your atmospheric instrumentals that expertly escalate the listener's excitement into the oncoming onslaught ("Ultima Thule" and later "They Are Coming..."), and then an incessant beating which is constantly mindful of great riffing and variation. The lead guitars in "Return to the Morbid Reich", "Come and See My Sacrifice", and "Only Hell Knows" explode into the listener as if he/she were launched over the edge of a cliff with no rope and suddenly had to experience all their exhilarating life memories before a quick and flattening end. And that is exactly how they fucking should be. As usual, this is not a band who blasts needlessly. Oh, they blast. But there is always a goal in mind, and here that end zone is divided between deeply thrashing, memorable breakdowns and segues of glorious atmosphere that round out the overall work with an appreciable added layer.

The one track I wasn't blown over by was the closer, "Black Velvet and Skulls of Steel", which is essentially a death metal march with fairly average riffing. The lead here is nice, but the guitars leading up to it just don't resonate with quite the same thrills as the rest of the album. Granted, you do get about 34 minutes of excellence before this arrives, but it simply doesn't end on a high note, and that's a quip I'm unlikely to ignore. Otherwise, this is a triumph on all accounts, with a nearly flawless presentation, the sort of album that is not going to exit my radar any time soon. Welcome to the Morbid Reich is marginally more brutal than its direct predecessor, so fans who (incorrectly) thought the band was drifting south of cool might be drawn back here; but really, Vader has never fallen off the scent of superior craftsmanship, and here is another of the many reasons they deserve your utmost support. Hell, the 'Morbid Reich' might even help compensate for another 'Morbid' disappointment many of us have no doubt experienced of late.

Verdict: Epic Win [9.75/10]

http://www.vader.pl/

Vader - Necropolis (2009)

Poland's premier death metal outfit has been on a tear, producing album after album of superbly crafted, simple death metal with extreme drumming and the unmistakable power of Peter's vocals, which sound like no other. Necropolis is no exception, their 9th full length album and one of their very best to date. If you've been clobbered by any of Vader's previous work, you will know what to expect here: a complete commitment to songwriting painstakingly engraved into each track.

There has always been a heavy thrash influence in death metal (after all, it evolved directly from that genre), and thus Vader, but it feels cranked up a notch on Necropolis. The Slayer influence is once again abundant, but well executed. "Devilizer" surges open the album with a concrete battery of grim thrashing death. The song is perfect, each of Peter's lines delivered with agony and intensity. The lead breaks are slavering and venomous. "Rise of the Undead" is an onslaught of session drummer Paul's footwork and deliciously old school riffing. Love the breakdown with its bluesy twang to the guitar. "Never Say My Name" fuses blasting aggression with winding and flawless death breaks and more of the tantalizing, brief leads. The aptly titled "Blast" will pummel your jaw hard enough to twist your neck at least 720 degrees. "The Seal" is a sweet departure, glowering guitar ambience with some chants to lead into the hammering "Dark Heart". The remainder of the album is consistently great, with "Anger" feeling like the new "Hellelujah!" this time around.

The limited edition also includes rock solid covers of Venom's "Black Metal" and Metallica's "Fight Fire With Fire", modified to fit snugly into Vader's style as if they had been this band's properties for all these years. The mix of Necropolis is just about perfect, nothing new for this band. Crisp and heavy tones, steady drumming and some of the best vocals in death metal (though I wouldn't complain about a more powerful bass presence). Peter is the only 'core' member of the band left, but he continues to surround himself with the perfect roster to get the job done, included Vogg from Decapitated on guitars.

Necropolis is yet another tight, controlled album from Poland's celebrated veterans. The sound is top notch and the writing is exactly where it needs to be at this stage in the band's career. It's not the best effort they've produced, and it falls short of timeless masterpiece status, but it is one of the better death metal albums I've heard (and am likely to hear) this year.

Verdict: Epic Win [9/10]

http://www.vader.pl/