TIERRA SANTA - 1997-2007 (2007)

One Knight Banneret and the Two Armour-Bearers

 

 

Compilations. Do such releases of a metal band make any sense? By this title “1997-2007”, Tierra Santa wants to sum their decennary scene activity and six full-lenghts. Fortunately it is not a best-of album and the Spaniards serve three new (previously unreleased) songs with additional DVD disc containing all the TS videoclips, live performances and some extras. The band decided to create this compilation by not re-recording of the old material, on one hand it’s a pity, but on the other hand? Everyone can compare their first efforts and these later killing heavy shots like “Indomable” or “Apocalipsis”. Also one thing has been confirmed: the “Mejor morir en pie” album is the Tierra Santa’s weakest release. Just let’s peer at the end of the first cd, where penultimate “Otelo” is between two crushing road rollers “La armada invencible” and “Indomable”. Although “Otelo” isn’t a crap, but meeting the killers from their previous albums, simply it’s out of the running. The similar thing is with the rest tracks of this wretched album.   

Musically “1997-2007” is a survey of all the albums that have been recorded since the beginning of the band. Thus, “Medieval” has two songs, “Legendario” three, “Tierras de leyenda” five, “Sangre de reyes” seven, “Indomable” six, “Apocalipsis” five and mentioned just above “Mejor morir en pie” four representatives. All the songs are totally mixed, I can’t see any logic here. It looks like a decisive factor in track order choice was a ‘random’ button. Fortunately the unreleased songs are put on the end of the second cd disc and this is a good time to write something about it. It’s an obvious thing for the supporter of the band like me, who knows the old stuff by heart, that the most important is this final trinity: “Volver al edén”, “Que nunca acabe esta noche” and “Tú vas al norte y yo al sur”. And to put it briefly, the first of them is the essence of Tierra Santa style, as it is maintained in the “Indomable” style and without any hesitation I could put it into the track list of this masterpiece. The Spaniards deliver really good riffs and this unique chorus form. For sure the song isn’t a refuse from “Mejor morir en pie” session or something like that. In turn, the rest of tracks is a bit weaker, but still I cannot throw them away before the face of the sixth album. Both given in a calmer way, like quasi-ballads, conquer my mind with simple melody lines, but I cannot forget about this killing “Volver al edén”…  Anyway I treat it as a really good thing, and the reason I still keep it in my collection.   

Taking an account on all pro et contra, I can state that releasing just an Ep instead of compilation only with these three mentioned songs would be definitely a better idea. For me as a long-time fan of the band, the rest is simply needless. And my final mark refers only to it. The most important is that the added new songs are really worth the trouble. Especially “Volver al edén”…  And probably it was a good material for a greenhorn entering the world of Tierra Santa, but now? It has no sense.

 

65/100

-Tlacaxipehualiztli

(written on March, 2014)

DAWN - Slaughtersun (Crown of the Triarchy) (1998)

The Slaughtering Dawn

It’s hard to believe but I discovered this album for the second time few months ago, listening to it at least once a day. And I cannot get off it… At one time, shortly after first listens, I considered this album as another bastard son born out of Dissection womb and another good stuff of the next pretenders to the throne. The album wasn’t noticed enough by me, now I know that was a horrible mistake. Nowadays “Slaughtersun (Crown of the Triarchy)” glows at full splendor in my collection, giving its slaughtering rays without any mercy. And even if it is not as catchy and famed as “Storm of the Light’s Bane”, Swedes know how to conquer my senses. I don’t know if the album truly caught the attention it deserved for, but I guess that “Slaughtersun” didn’t get a satisfactory applause in the past.     

I made mention on the second Dissection album but the Dawn’s offer isn’t a cheap imitation of Nödtveidt works, that’s for sure. But two first albums of Dissection are some kind of determinant for the things to come. Dawn managed to clock in here six compositions (plus one instrumental piece) in almost sixty minutes so it’s challenging task not to be a bringer of boredom, as the songs have eight minutes at least! Musically they deliver an essence of black aggression, based on unmerciful riffs, destroying performance of Jocke Pettersson on drums and typical for this genre Henke Forss vocals. And by their skills and metal passion, they avoided dullness moments, even if some parts seem to be a bit monotonous (“Ride the Wings of Pestilence”, but I don’t treat it as a blame in this song). Each track emanates a morbid-like melancholy fed by melodious layers (and here Dissection shades are heard most) that I cannot forget about.  All is done by simple means, without any technical and progressive arrangements, but supported by very good sound realization of Abyss studio. The musical basis here is to tame relentless ideas raging through the avalanche of slaying sounds. And they managed to do it, controlling unbridled fury that attacks the listener from every corner. Of course, the adjective ‘melodious’ is nothing unknown in the case of this album, as every song has its own, let’s say, catchy moments, sometimes even epic and melancholic. I think “The Aphelion Deserts” is a good example of such destroying track, when Swedes mixed extremely fast tempo and memorable guitar tone. It seems to be the most violent song here, what is more, it became the best one during my first meetings with the “Slaughtersun” beast. Putting this song on the fourth place of the track order is a very good move. Let me explain: “The Aphelion Deserts” are preceded by “Ride the Wings of Pestilence”, the slowest piece here, even with some smashing doomish parts. But the most significant thing, the stifling atmosphere that girdles the mind, is one of the best moments on the album. And the confrontation of these two killing songs in the middle of the album, is a real manifestation of Dawn’s power. Two different tracks, two different emotions…

And except for instrumental “To Achieve the Ancestral Powers”, the rest is built in more varied form. I mean, Swedes juggle the songs tempo, from slow, almost melancholic parts to the moments of savage fury and unmerciful stark madness. Two last songs “Stalker's Blessing” and “Malediction Murder” have quite long openings, based on slow peaceful riffs that bring a breathing space with strong monumental guitar works… but it is simply an introduction to the musical insanity. And I think that an apogee of “Slaughtersun” comes during the last “Malediction Murder”, it lasts eleven minutes and contains everything I wrote above. And I arrive at a conclusion: this song is the best here and makes a splendid ending of the album. I have no choice, I press the play button once again and greet the first sounds of “The Knell and the World”…

 Summing all the things up, the second album of Dawn is a real treasury of superb compositions. With these bestial sounds, I can easily forget about any Dissection comparisons. And for certain the music isn’t outdated and even if it’s melodic, as the sounds are executed in lethal form. I can see a clear progress in composing as compared to the debut. Unfortunately the “Slaughtersun” album was the last one in full length activity of the band, however, according to Encyclopaedia Metallum, Swedes are still active after some years of break, but there is only an ominous silence in the kingdom of Dawn. So, if you don’t know this band, check their albums immediately out, especially the second full performance: great feelings guaranteed. One of the best blackened albums I have ever heard in my life. 

90/100

-Tlacaxipehualiztli

(written on March, 2014)

REMAINS - ...of Death (2013)

Death... the Traditional Way

The old school death metal avalanche seems to have no end…  And it’s fucking great as the promising bands infect the scene day-and-night and with no any mercy for thirsty metal freaks. Therefore I’d like to take a look on another piece of rotten metal called Remains coming straight from Mexican land. Although it was re-released officially by Suicide Nihilist on cd last year and decorated by nice and stylish front cover, I bought it on February only. Of course, better late than never, and, to put it briefly, I am just raptured with this Ep that consists of five songs and one Dismember cover (“On Frozen Fields”) with almost 23 minutes of running time.

The style: pure traditional death metal played with simple means only. And the realization of the sound is the first thing worth writing about it: for sure it is given with a modern touch, but fortunately it doesn’t devastate the overall impression. Simply, it is not artificial and I treat it as an added value. Thanks to Miguel Angel (producer and engineer) who is also vocalist and guitarist in the band, each single sound is audible, even bass lines have its own part (just listen to the opening of the “Wounds” song!) and I can speak courageously that it perfectly fits to the whole musical killing show. Musically, the first sentence of this paragraph says it all. This band is one of many young metal crews bringing the powerful spirit of 80/90’s to the world underground scene, although in the case of Remains, I can only praise the effort, forgetting utterly about cloning or fake imitation. With ease this Mexican baby sucks the Swedish (mainly) breast. And as all we know, such milk is the best for the youngster definitely. I wrote ‘Swedish’, yes, Sweden… with such names as Dismember, Edge of Sanity, Unleashed (especially in “Psychopathic Release”), maybe some admixtures of old Asphyx and old Benediction with old American flavor (Autopsy, Incantation). Everything is well known, there are no any undesired surprises, and this is the death metal way I love most...

Listening to this piece and thinking about possible influences as an obvious thing in such a genre, Dismember comes to my mind first, not only because of the “On Frozen Fields” cover, but also by reason of the song structures. Just take a listen to the Dismember’s “Hate Campaign” album and songs like “Bleeding Over”, “Thanatology” or “Suicidal Revelation”. They are some kind of determinants for Remains. Fast, brutal and not with these well-known Swedish melodious leads. Of course, I don’t state the Mexicans cannot create, let’s say, catchy tunes, because it is not, as the memorable parts are rather hidden amongst the wall-crushing guitar layers and the perfect vo-kills (really good sort of growling!) done by Miguel Angel, reminding me a bit of Dan Swanö’s pharynx. And I think their main goal is to strike the listener with brutality and crude, obscure atmosphere, though the sounds are balanced and given in a well-thought-out way (being in perfect annihilation? Yep, absolutely!). Of course it’s great they are able to ladle the inspirations from big names and they use it profitably for their own devastating music, giving it a recognizable quality stamp. With classic instrumentarium, without any needless and vain intros, but with the tempo changes and proper level of death metal aggressiveness, Remains offer the music with no boredom or yawn moments… so, do I need more?

Unfortunately, amidst many whiles of pleasures during listening to this material, I have one reason for complaint. It’s hard to believe, but this is the closing track “On Frozen Fields”, taken from the third Dismember album. This song belongs to the more melodic part of it and as I have written already, such ‘obvious’ catchy tunes don’t fit to the “…of Death” entirety. All right, just take a look on the content of this under discussion “Massive Killing Capacity” album: there are songs like “Crime Divine” or the title one which are definitely better to be covered in this instance. It would make Ep coherent and more impressive.

To cut it short, this band gives me really great moments with their second material. First five authorial songs are incredibly equal and it’s very hard to choose the leader. The overall impression is somehow strengthened because I can feel like these crushing undertones were written and executed especially for me. I mean, I’ve been with such music for almost 25 years, I’m still worshipping it, and I will be doing that by all means. This band is a proof that traditional death metal way is infinite, even if there are no any signs of originality. But who cares, by the way? If you’re old-school maniac, you understand it. And I wait for the next release, as it is planned to be out this year. I’m as silent as the stars, because it seems Remains won’t disappoint me. 

88/100

-Tlacaxipehualiztli

(written on March, 2014)

DROWNED IN BLOOD - Underworld (2013)

Below and Above: Blood Is the Mortar

Only just one year these Mexican bringers of sonic brutality needed to unleash another bloody beast into the bowels of the underground. Again under the banner of American Line, but as a five-piece crew with new hopes I guess. Their previous album “Deathbringer” was a really solid crippling death metal slab maintained mostly in the vein of Krisiun and Rebaelliun, and, luckily, nothing has been changed on the board. I mean, musically beside still obvious Brazilian influences I can add some Suffocation and Vader reminiscences to the whole. Speaking about the production and sound realization, I must admit that it is simple better. Firstly, George’s vocal parts are louder (and they sound good at last) in the final mix as compared to the previous album. Secondly, musical side of the album got rawer, crisper and more energetic blow. The album sounds really uncompromisingly causing mass devastation of my senses.

Of course, a good production is for nothing while the musicians are dilettanti and losers. Fortunately Toño Drowned and his company are not, as they serve fast and aggressive music art. I don’t demand here any signs of sophisticated originality and I know why these tunes were created for. The main target is a listener’s mind, to bombard it by unmerciful and blasting ravager. And they did it undoubtedly. The Mexicans smartly juggle the songs tempo and don’t deliver one track very fast with one speed, the other with a low speed. No, everything here is well-balanced and the rhythm changes shown in every single track make the album absolutely not monotonous. At first sight it seems that the basis of “Underworld” is a Led’s work and his bulldozer drums. And this feeling is right, but luckily he doesn’t play blast beasts exclusively and the tempo’s rotation is hearable, however, as he stated in the booklet, “play fast or death”. Is that clear? What is more, the balance between drum and bass drum is maintained. Supported by a fine Allory Studio sound realization, the drums are living force of the album. The second element of rhythm section marches together with the guitar avalanche, in two songs (“Feed and Please” and “Endless Time”), when the Drowned in Blood machine slow down and keeps the silence for a while, I can listen to bass show lasting merely few short seconds.

During many careful listens to this album, one thing is sure as hell: Toño matured as a composer and musician. And the album is a good example for that. There is no any haphazard sound, there is no any useless and fake tone. It makes that “Underworld” has no signs of boredom, which is so important in such an intense music. Songs are made of solid, interesting, sometimes even catchy groups of riffs (“Autosacrifice”, “The Descent”, “Feed and Please” to name a few) with rather chaotic leads and it’s very hard to choose the best one here. It confirms the equally high level of the whole performance. The band used movie samples (taken from Gibson’s “Apocalypto”) as well, but it is served only two times, on the beginning of “Autosacrifice” and “Demise”. Also, the last song “Becoming” is a really worthy of note, being an instrumental bass piece, it fits perfectly to be a good track to end the entirety. As compared to the similar move from the previous album, it isn’t too long, doesn’t soften “Underworld”, and brings some dark and worrisome atmosphere. Really good work!  

The instrumental side of “Underworld” is clear right now, and there is a need to write something about vocals and lyrics, as one person is responsible for that. His name is George, but he doesn’t bring any radical changes in his singing comparing to the previous work, still it’s a kind of semi-growl with mixed styles of A. Camargo (Krisiun), Peter (Vader) and F. Mullen (Suffocation). As you can see, nothing original, yet this mix works here unobstructed, vocals lines are clean-cut and audible. What is more, George wrote better lyrics focused on the history of Mexican land before the Spanish conquest. But while revising the lyrics, I couldn’t find any direct references to names or places. I must admit, it has its own charm: all is bathed in blood, sacrifices, rituals, ceremonies and mythology. The entirety is fastened by summing all the things up “Cosmic Domain” text. The lyrics framing is intensified by a front cover, that’s for sure, but this work is definitely made in our modern times, however it renders the overall “Underworld” character in a good way. It is worthy to scrutinize the background with Maya reliefs and fragments of ornamented wall (?). After opening the digipack out, the Mayan monumental Chichén Itzá’s temple “El Castillo” shows its boundless beauty…

Several times I had to compare this album to the second band’s full-length. And I can see here a progress, maybe not so big, but I cannot make a mistake what band is it, and now Drowned in Blood is a complete crew. A killing crew, I must add. For sure this album is a great listen if you’re death metal freak. By means of simple tools and ideas the band managed to record a real soundtrack to the brutality of the past. Without hindrance “Underworld” retained a place on my shelf with the ‘very good death metal’ titles. There is no need to pray for originality, and I wrote about some influences, but the overall striking force reminds me of Polish Embrional and their debut album “Absolutely Anti-Human Behaviors”. Even if the style of death metal is quite different while comparing these two bands, one thing is the same: the omnipresent feeling of blood and death. 

And with blood the Mexicans formed a beast. The underworld beast staring at me… 

90/100

-Tlacaxipehualiztli

(written on March, 2014)