Nightmare - Insurrection (2009)

Nightmare were formed in 1979, but broke up after a few albums for a decade gap. They returned in the late 90s and have been releasing albums consistently since. The band has always been one of the stronger French power metal acts, and their recent albums exhibit an awareness of modern trends in metal, with a fusion of old school melody and modern low-end groove. Insurrection is their 7th full-length release and one of their heavier works. Most of the tracks are slow to mid-paced and vocalist Joe Amore (formerly the drummer) is not afraid to inject some snarls to affect a melodic death edge to the material.

"Eternal Winter" starts with a mid-paced, mighty anthem laden in melodies and steady chugging. Amore's vocals are very good here, with a gritty edge to them that recalls a male counterpart to old Chastain (Leather's vocals). I like his shifts in range which always feel emotional and powerful, and though the riffs are average, the song wouldn't be much without Amore's performance. "The Gospel of Judas" is a hybrid of Priest-like power metal and melodic death/thrash, while "Insurrection" itself is a wilder power metal track with higher pitched vocals. Neither of these tracks stood out to me, but "Legions of the Rising Sun" is an improvement, with a great verse riff and thrashing power breakdown. Other strong songs include the punishing "Three Miles Island" and the grooving "Cosa Nostra (Part I: The Light)".

Insurrection is bold and loud and straight to the face mix-wise. The bottom end guitars are loaded with spring coiled power, and this is one of the few power metal bands that could really get a rise out of a mosh pit. Amore's vocals sound great and the band manages to stride that border between tradition and modernism. But I really only enjoyed a few of the tracks on the album, and it's not at the level of predecessors like The Dominion Gate or the first two records. This is solid, heavy, mid-paced power metal that would appeal to fans of bands like Tad Morose, but it left little mark on me.

Verdict: Indifference [6.5/10]

http://www.nightmare-metal.com/

Onmyo-Za - Kongo Kyubi (2009)

It's safe to say that Onmyo-Za is Japan's very best female fronted metal band. While a recent crop of such bands have sprung up, vainly attempting to mix the symphonic style of Nightwish with visual kei aesthetics, Onmyo-Za sticks to their guns, performing 80s style speed/heavy metal and consigning their own visual elements (the band's traditional garb) to the stage and video. Like many Japanese artists, the band is prolific, releasing a slew of singles, DVDs, and albums. Kongo Kyubi is their 9th full-length in just a decade, and not the best, but it will appeal to fans of their j-rock/pop meets classic metal style.

Flowing, melodic and inoffensive, just about any of the tracks on Kongo Kyubi could be featured as an anime OP/ED (like their Basilisk theme a few years back). This is accomplished through their catchy hooks and the dual female/male vocals of Kuroneko and Matatabi, which interweave fluently throughout the tracks. Some of the better tracks on this album include "Soukoku", the very 80s hard rock of "Izayoi no ame" and the most metal tracks on the record, "Aoki Dokugan" and "Kuraiau". The band breaks it up for some bluesy tracks ("Banka") and the three-track mini cycle "Kumikyoku (Kyuubi)", which is quite good.

Enjoyment of Kongo Kyubi, like many of the band's records, will depend on how well you favor classic radio metal of the 80s, j-pop vocals and melodies that shadow the romantic energy of the band. Onmyo-Za is a pretty unique entity, and not for everyone. If you're new to the band, I'd advise you start with previous efforts like Hyakki Ryouran or the great Garyotensei, but if you're already enamored of the band's style and poise, there should be enough here to tide you over until their next album (you probably won't be waiting long.)

Verdict: Win [7/10]

http://www.onmyo-za.net/index.html

Obituary - Darkest Day (2009)

Like the previous album, Xecutioner's Return, Darkest Day is another attempt at a return to Obituary's roots: pure death metal, with deep grooves and horrifying vocals courtesy of John Tardy. Gone are the hardcore overtures which plagued some of their late 90s albums. Sadly, while it's superior to 2004's abysmal Frozen in Time, this album fails to deliver the quality moments of creepy riffing that permeated their classic albums Cause of Death and Slowly We Rot. Xecutioner's Return was proof that perhaps this horse hadn't been beaten to death, but this album is weak enough to overturn that evidence.

On the surface, this album does possess all the elements that made their old records so great. Even the mix sounds similar, with the band's signature guitar tone and lead outbursts. It just lacks in inspirational riffing. Tracks like "List of Dead" and "Blood to Give" could be outtakes from Cause of Death, but they lack the replay value. A few tracks later on the album come close, like the grooving "This Life" and the furious "Violent Dreams", but they fall shy of the mark.

At this point, I can't really call Darkest Day a disappointment. I've been underwhelmed by a number of the band's previous albums (The End Complete, Frozen in Time). Perhaps one day, the 'forces realign' and Obituary kicks my ass once again. Not this time around.

Verdict: Indifference [5/10]

http://www.myspace.com/obituary

Necrodeath - Phylogenesis (2009)

phy - lo - gen - e - sis: the development or evolution of a particular group of organisms.

Necrodeath have always been one of the top two Italian thrash bands (the other being Bulldozer), and their 8th album Phylogenesis is ample evidence of why. Energetic, cruel thrash metal that simply drips with malevolence. Rarely technical, unless it needs to be, this is another scorcher, fueled by Flegias' intense vocals which are similar but even more snappy and pissed than Mille of Kreator.

"Awakening of Dawn" explodes out of the speakers with a fervor and madness that will appeal to any fan of the band's breakthrough reunion albums Mater of All Evil and Black as Pitch. It's a fast track, as are many of the stronger numbers. "Propitiation of the Gods" starts with some nice, creepy acoustic melodies but gains strength as it picks up speed . "Cloned World" is anchored by a bizarre, chaos inducing, loopy melodic riff. But the album also has some stronger, slower songs like the ill-tempered "Extreme Emotional Condition" and the grim, bottom feeding "Persuasive Memory".

Phylogenesis has a tight mix that supplies ample, alternate tones of hostility and wonder. Flegias sounds phenomenal whether doing his barks and snears or his more 'narrative' guttural vocals, hostile whispers, etc. The riffs have a bloodthirsty cruelty to them which should appeal to fans of Slayer, old Exodus, etc, but if you're already a Necrodeath fan you know this already. This isn't the band's best album (for that, you'd want the aforementioned Mater of All Evil or Black As Pitch or their 80s classics like Into the Macabre) but it's concrete and consistent.

Verdict: Win [8/10]

http://www.necrodeath.net/

Evile - Infected Nations (2009)

Of all the modern wave of bands to revisit the thrash sound of the 80s, Evile has been one of the more successful, causing a large buzz which even got one of their tracks added to the Rock Band video game. I derived little enjoyment from their debut album Into the Grave, thinking it average at best, but this second album a step up in the riffing category.

The title track begins with a nice acoustic intro before hammering into a slew of blazing rhythms. The style here is direct thrash/speed metal with enough American chug (ala Master of Puppets) and also the technicality of Germany masters like Destruction. Matt Drake's vocals are one of the things that put me off the first album. They're blunt and pissed off and remind me of Xentrix (and to a lesser extent Hetfield) and as with that earlier band, but really take a back seat to the riffs. "Now Demolition" features a nice, winding verse rhythm packed with precision and technicality, and some nice touches of melody that add depth, though the vocals are a little dull. "Nosophoros" is again a blast of tight riffing that should appeal to fans of Destruction or Artillery, and "Genocide" weaves a hypnotic pattern of chords into a slower pit fest. Other choice tracks include the manic "Devoid of Thoughts" and monstrous, labyrinthine "Metamorphosis".

Infected Nations has a punchy power to its riffing that combines with the more laidback vocals to create a nice layered depth to the tunes. I still don't love the actual vocals themselves, but this is one of the few albums to really remind me of Master of Puppets, despite its more technical guitars. I was pleasantly surprised by this album, easily superior to Into the Grave and worth hearing for the riffs alone.

Verdict: Win [7.5/10]

http://www.evile.co.uk/splash.html

Thunderstone - Dirt Metal (2009)

I recently reviewed the latest album from Germans At Vance, which is another band currently fronted by Rick Altzi. While his vocals in that band are more sultry and blues-based, he really gets to shine here, with a lot of balls and punch. I mention his vocals in particular, because they help save Thunderstone's 5th album from becoming a pit of mediocrity like the last four.

Thunderstone do the power metal thing, but it's got some groove and thrash influence to it, not content to simply ply the waters of melodic anthem after melodic anthem. If I said this was power/prog metal meets Pantera, I would not be lying. And it is this heavier nature which makes Dirt Metal fun. "I Almighty" is the first entry to the slugfest with some fast synths punctured by meaty mutes. It erupts into a melodic and catchy chorus. "Dirt Metal" was not my favorite track on this album, it has some big chug in it not unlike Halford's second solo album. "Blood That I Bleed" has more of these ballsy grooves in it, with some nice use of piano and bells for atmosphere. "Star" has more mute grooves, the most pure thrash track on the album, and Altzi gets to play with his vocals, doing some rasps in the bridge. "Ghosts of Youth" is a great track with some throwdown riffing and nice vocal hooks. Other kickass tracks include "Dodge the Bullet" and "At the Feet of Fools".

I wound enjoying Dirt Metal, which was a surprise since I didn't really enjoy any of the band's previous work. The album sounds great, and I like that Altzi can mix it up for his various projects, making him a worthy frontman. Again, this is not power metal like Dragonforce for fantasy hobbit addicts, it's more like the power metal you'd want to listen to while smoking a cigarette and pounding a whiskey in some dark, blue collar bar on a weeknight. There is enough grace, melody and mysticism to impress, but it's all moored in a heavy, grooving foundation. I can't say that my mind was blown, or that the title Dirt Metal really fits this material, but...

Well played.

Verdict: Win [8/10]

http://www.myspace.com/thunderstoneband

Count Raven - Mammons War (2009)

13 years have passed since Messiah of Confusion but little has changed in the Count Raven camp. They have returned, they still sound like the natural extension of Osbourne-era Black Sabbath, and they still rock. They've always been one of the better bands to carry that torch, and please do not be surprised when you pop this on and exclaim "Oh my God this man sounds just like Ozzy!". Because that is really the point of any Count Raven release, to further widen the pantheon of traditional doom's progenitors. Ozzy's last few albums have been pure manure anyway, so where will you turn?

"The Poltergeist" packs a pure rock'n'roll groove which should instantly please fans of the band's former work, as well as more recent bands like Orange Goblin, Terra Firma or Lord Vicar. Riffs are kept simple, big, Iommi-catchy, and there are some nice synths added for the bridge to elevate it. "Scream" breathes a little more slowly, a few chords giving Fodde's vocals room to really capture those early Sabbath heights. The 2nd riff kicks ass alongside the vocals and the bells. "Nashira" opens in the vein of stoner anthems like "Sweet Leaf", and "The Entity" creates a subtle grooving texture, carnal and laid back. Other highlights include the proggy synth-oriented "Mammons War" which sounds like nothing else on this album, or the sorrowful "To Kill a Child". All in all, you are getting over an hour of new music from the bastard stepchildren of traditional doom metal, and you won't disappointed if you enjoyed any of their previous output.

And Mammons War sounds much like those earlier albums, if a little more polished. Full, vibrant riffing with the synths and acoustics mixed in pleasantly where they appear. The drums fluently stride beneath the weight of the riffs, and Fodde's vocals cut through just like 70s Sabbath. If you're not already a fan of Count Raven, and you enjoy the first 4-5 Sabbath albums or their progeny like St. Vitus, this is a no brainer. It's honestly one of the finer albums this band has produced.

Verdict: Win [8.5/10]

http://www.myspace.com/countraventheband

Creatures - I, Lucifer (2009)

Creatures is a crossover band from California who mix aggressive hardcore with riff-heavy thrash metal. They're a little less retro and goofy than other crossover bands (Municipal Waste, etc) and this is a welcome element. Their hardcore half is much more rooted in a 'tough guy' influence like Biohazard or Hatebreed (in particular the grooves and vocals) than punky embellishments, and it works rather well. I, Lucifer is their full-length debut, having previously released an EP and appeared on some comps and a split with Downpresser.

The band's forte here is the mean thrash riffing, as populates a track like "Decimate" or the excellent "Burden". It meshes seemlessly with their breakdowns, and the band's use of a counterpoint gang shout really works to bridge the urban aggression of their style with the pissed off lyrics. The album is brief (about 22 minutes) which is acceptable for this style. No time is wasted. The band kicks your ass for 10 tracks that generally 2 minutes or less (with the exception of "Illusive Faults").

The mix on I, Lucifer is suitable with its boxy, punchy guitars and gruff vocals. Your mileage with this record will depend on how you feel about crossover metal/hardcore, and whether or not you enjoy big hooks, and violent pit grooves. Though I rarely visit this style of music anymore (my relationship with it started and ended with D.R.I., Cryptic Slaughter, Crumbsuckers, Leeway, etc), I am happy to hear that there are a few bands out there doing right with it. Creatures is one of those bands.

Verdict: Win [7.5/10]

http://www.creatures.bigcartel.com/

Morbifer - Moroi (2009)

When you think of 'vampiric black metal' you usually think of bands like Opera IX or Cradle of Filth. Both have put out some good music, but they only capture the lore and horror of Bram Stoker and old black & white films in a superficial sense. Poland's Morbifer is one of the only bands I have heard who do vampire black in a grim sense which would appeal to fans of the cult black metal aesthetic. This is only the band's first release, but it really captures a dark and penetrating atmosphere with its mix of primal riffing (ala Hellhammer and oldschool Bathory) and a 'haunted castle' atmosphere.

"Smierc szkarlatna" uses bells and synthesized horns to simulate just such a castle, before bludgeoning you with its raw black riffs and deep, caustic growls. "Krol w czerni" delivers a deep, old Celtic Frost groove flavored with some light synths. Title track "Moroi" uses samples, bleeding melodic lines and a touch of acoustics to create utter despair. "Morbiferonomicon" is an acoustic piece with samples of wind and some percussion. "Nie bedziesz..." is the longest and best track on the album with some cutting melodies and transitions, never getting dull in over 10 minutes. The grim and blasting "Heksakosjoiheksekonahek" marks the finale, hitting you with some big, memorable hooks at around 3 minutes.

What Morbifer do right is create some simple atmospheres amidst tight riffing, with an aesthetic loyal to the forebears of black metal. The album sounds superb, exerting its lack of pulse where necessary but letting the blood flow freely for some glorious apertures of sound. There are a few moments where the riffing can grow dull, but it's not a long album (less than 40 minutes) and I hope a sign of things to come.

Verdict: Win [8/10]

http://redrum666.net/index2.php?lang=pl&label=fa&rel=fa666_

Midnight Odyssey - Firmament (2009)

While it's cover art might make you want to tear your own eyes with a salad fork, Firmament has a lot to offer the fan of simple, laid back, but beautiful atmospheric black metal. It's the debut of Australia's one man Midnight Odyssey, that sole composer being Dis Pater. While it may not come off as impressive initially, Dis Pater's ability to craft bleak sonic nightmares and imbue them with his bleating vocals (in the vein of Weakling or Burzum) is outstanding, and Firmament is an amazing debut album.

"From Forest to Firmanent" is a graceful indoctrination to the album's dark, starry sky as you sit aside an ocean of pain swept memories. Like most of the great atmospheric black metal albums of olde (In the Nightside Eclipse, Det Som Engang Var, Ravendusk in My Heart, etc.) it grasps your black heart and never lets go. Each track is gorgeous, glittering with sadness and pain. The breakdown at 2:40 of this song is magnificent, I could feel the tears welling up. How could a man create such sorrow? Suffer well, my friend. "Nocturnal Prey" creates almost an early 90s shoegazer atmosphere with its wailing stream of guitars, conjuring a starfall, the great dust of the heavens descending upon desolation. "Departing Flesh and Bone" is stunning, with yet another unforgettable moment of carefully crafted melody and shimmering synth. "A Host of Ghosts" is a synth piece, despite its lack of guitars the rival of any other track on this album. "As Dark and Ominous as Stormclouds" is again beautiful, but more bloodthirsty in its longing rhythms. "Salvation Denied" is slow, pondering, painful. "Storms of Fire and Ice" is another epic masterpiece of synth orchestration. And the album concludes with the inverse "From Firmament to Forest", which struggles to compete with all that came before but still comes out on top.

Firmament is as raw as any other cult black metal record, but it's a gorgeous type of raw. The name of this band could not be any more perfect at describing the style of composition. This album is hopeless and barren yet at the same time...full of longing, adventure....the very faint fire of life. It represents the very best of what a single individual can accomplish with an imagination and a basic knowledge of genre, and exactly which chords to pick out. Australia has produced two of the year's best black metal albums: Nazxul's Iconoclast, and this. The accolades I could rain upon this release seem to only grow with time, with each repeated listen the sorrow only grows. I could die to this album knowing what I know and what I don't, maintaing the endless equilibrium of human futility in a staggering, unforgiving universe.

Verdict: Epic Win [9.5/10]

http://www.myspace.com/midnightodysseyband