SHAMASH - Eternal as Time (1999)

Trying to Be Eternal...

Shamash is a noteworthy crew. These Toluca metallers have one really original thing inside their circle and when you take a look on the line-up, you see… two bassists on the board. Yep, and even Pablo Prior with the lead bass. It looks really gorgeous, don’t you think? Unfortunately for this band, another instrument (keyboards) is a decisive and negative factor when I want to write a final comment. To put it briefly, using this stuff makes me really nervous, and it refers to almost each parts of keys sound played on “Eternal as Time”. Sometimes, when keyboards take the lead position and cover all the rest of instrumental parts, the comparisons go to the worse moments of German Crematory, to the band I really don’t like. The most of melodies created by Mauricio Delgado are unacceptable, especially in “When Every Tear Weakened the Sky”, “Among Fire and Blood” and “The Divine Oversight”, when I can hear some childish and definitely too joyful tunes for the metal band. But the worst song on the album is the last one “The Whispers of the Darklight”, made of keyboards only. Indeed, a poor ending of “Eternal as Time”…

Fortunately it doesn’t mean that Mexicans recorded a completely bad album. I made mention on the bassist, and it’s a pity that his performance is rather hidden behind the rest, only during the slowdowns the bass lines are heard without hindrance. Of course I have to write about “The Silence”, the instrumental song with no keyboards (yes, finally!!!) and great melodies played by Prior’s bass. Simply “The Silence” rules and I treat this modest piece of music as the best song on “Eternal as Time”. Then the guitars: though the riffs are arranged correctly, two guitarists don’t offer any special and exciting moments. Maybe it suffers from the lack of large quantity of guitar leads? But I admit that the music isn’t monotonous: from slow and almost doomish whiles (“Empire of the Sun”), to very fast storms (“Where Every…”, ”Where the Hate Becomes”). The musicians try to excite the interest by creating a proper atmosphere and memorable sounds, but in my opinion the keyboards are the main stuff that destroys all the efforts. To cut it short, the whole has a definitely better image when keyboards have not a leader position in the song structures and they are kept just in the background.

As the booklet says, Oscar Prior and Alejandro Barrera are responsible for singing. Two persons, but I tell you that vocals are served in many different ways, the leading singing is maintained in a typical semi-growl, but also I can hear two clean voices, some usual blackish shrieks and, from time to time, some piercing shouts in the highest (I guess) vocal register I have ever heard, full of despair and hopelessness. Even if these mind ripping screams are recorded more silently a bit, they are a very good diversity in whole vocal performance.

 For sure “Eternal as Time” raises the doubts, as the conflicting emotions split my mind. Keyboards and lack of fine, memorable guitar leads are the main complaints here, however the remainder is a noteworthy as I wrote at the start. Summing all the things up, this debut Shamash album appears as a mediocre title with some bright musical points, but everything is for nothing. I think the album got lost in that time (it was released in 1999) amidst many, many similar bands. The band decided to split up soon and now they seem to be dead forever. Anyway, it’s really hard to be eternal as time…   

60/100

-Tlacaxipehualiztli

(written on December, 2013) 

XIPE TOTEC KALPUL - Xoxopantla (2009)

Bringing the Confusion to the Mexica Hearts

I paid my attention on this band for only one reason. A name. Yes, the deity of Xipe Totec is rather widely used amongst the metal musicians (four bands with such a name on the site), and now it is a good time to write something about the second release of Xipe Totec Kalpul. And though the name of release has its own roots in Mexica mythology, musically “Xoxopantla” is a very weak material. Mexicans perform black metal maintained in very simple (or better to write: primitive) way, of course it’s not a blame, but it is absolutely without any highlights or worthwhile elements. Yep, that’s right, their music has an original touch, as they are band using indigenous instruments. But beyond any doubt, incorporating such thing must fit to the whole, yet we are talking about metal stuff. And with this, I have a big problem. The opening song “Anahuakajotl” even some calm, interesting and promising tunes, is completely destroyed by a flute and its horrible, silly melody. Yes, I know, it is a folk, but in hopeless and wretched dimension. Riffs are played in a very typical way, yet they can create mediocre, but sometimes memorable and straight-forward layers of accessible riffs (in “Xipe Totec” and “Youali Ejekatl” songs), unfortunately, such production of guitars and drums makes absolutely no good to the sound and the music itself. It is rather impossible to find something really cool in this musical hurly-burly, but a real defeat is track called “Estlikiauitl”: one of the worst black metal song that I’ve ever heard. This pseudo-beast lasts six minutes, musically (again with horrible folk instruments and massive noisy outbursts of guitar sound) is a crime against my nervous system. Such a construction of the metal song is totally inacceptable: (black) metal music should be a machine that wounds a listener without mercy, here in this song, these Mexicans raped my senses only. And let me ask you: where is the black charm, where is the black harmony? You bring nothing to me, but a disastrous cacophony…

This record has three bonus tracks with completely rehearsal sound (to be honest, not bad at all), two of them are in demo versions (“Xipe Totec”, and “Estlikiauitl” sadly…) and the last one is an instrumental performance that brings some needful alleviation to my tired mind. And I ask myself once again: how can I find something interesting? Even if vocalist screams like a possessed, even if he uses sometimes almost death grunts, even if the band put two different kind of clean vocals (on tracks 1 and 2, but definitely it has to be improved), the whole seems to be a puzzle with too many blocks for the band. As I am a nice guy, I always try to notice in such releases a ray of hope, thus, writing the next songs in the vein of “Xipe Totec”, and “Youali Ejekatl” is necessary for Xipe Totec Kalpul due to promising guitar work, just like throwing away mostly useless and lame using of folk instruments. More power, more speed, more mutilating and slaying compositions with much better production will be a good (and only) thing for band musical development for sure. The band is rooted deeply in their national mythology, in pre-hispanic beliefs naming his music ‘Anahuak Mexihkajotl Black Metal’. So, guys, don’t offend your band mightful patron by releasing such rash sounds. Beyond doubt, everything should be corrected and improved here, as your music is a complete contrary to the culture of your country. 

25/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on November, 2013)

CHAPEL OF DISEASE - Summoning Black Gods (2012)

The Black Gods and the Schoolchild

 

 

2012 year was a real turning point in Chapel of Disease career. At that time, after four years of rehearsing, they released a debut album called “Summoning Black Gods” (introduced by a demo and 7’’ split with Lifeless). Musically Germans don’t reinvent the wheel, as they offer well-known old-school death metal tunes. During these eight songs, they summoned several gods and visualized them before my senses. Names? The pantheon is easy to describe: Asphyx, old Pestilence, Bolt Thrower, old Grave, old Death. And I want to tell you, this album is a kind of a tribute to this 90-ies direction: these bands are the main inspiration for the Germans. And even if it is totally impossible to count right now all the new bands trying to exhume the old feelings and magic of mentioned glorious bands, these Germans are definitely worth the trouble.    

The album is of full value. The first thing is a really great front cover by Andrei Bouzikov. His awesome job with only three colors fits perfectly to the music and Lovecraft (mostly) inspired lyrics. And even if they are bathed in obvious sounds, this album isn’t a blind imitation of another grey copy-cat: from the first seconds of the opening title track till the last seconds of “The Loved Dead” they show the roots of death. These eight songs are rather simple compositions, yet with own identity and something interesting to offer. The clear (but not sterile!) production helps to hear all the good points of the album. The musicians act in full consciousness while dosing the emotions through the songs: admiration and ecstasy wave naturally with the best moments in “Evocation of the Father” and “The Nameless City” in the middle of the album, and during the last colossus “The Loved Dead”. The album emanates many layers of mystery and grimness (the best example in “The Nameless City”), and I have an impression that the sounds effectively fill my brain cells with an unspeakable horror and choky morbid atmosphere. The band changes the tempo and there is no song maintained in the same speed. And what is more, they didn’t forget about melodic tunes. So, beside aggressive, straightforward riffs, the band created quite memorable sullen moments as well, especially on the end of “Evocation of the Father”, which is probably the best one here… Of course, the melodic layers are used little by little, and they are played with a real class, but the main killing force here are varied portions of riffs and guitar leads in every song. Just take a listen to aforementioned “The Loved Dead” lasting eight minutes, in the Asphyx vein, with almost two minute doom opening! This roll crusher slashed my spine, definitely. Also it is the best track to say something about Laurent vocal devastation, as he is a gifted schoolchild of van Drunen. The vocals don’t bring anything new to the metal world, however they are good supplement to the whole.    

So, is it possible to offer an exciting record that uses well-known and popular now (trendy?) patterns? Yes, it is! If you don’t believe, check this album out. But, such a tribute release is meant rather for die-hard old-schools metallers, or am I wrong? Among many old school death metal newcomers, this band definitely seems to be a better kind, bringing the sounds and emotions that I loved many years ago. This murderous crew is like a time machine serving you a journey to the old times, where only real death was reigning. In one interview (Chaos Vault webzine), Laurent confirmed editor words about one Sarcofago “Nightmare” classic song and ripping-off it in the beginning of “Dead Sphere”. Simply, they found this piece a natural riff for their song, and they did it. No bullshit like “man, we didn’t know that”, or “Sarcofago? Yes, but only first LP” and other stupid tales. Thus, the attitude of the band is clear for me: a total dedication and honesty in the music. Then, what do I want more? I’m closing my eyes, the chapel is opening with the first seconds of the title killer, and the black gods are taking a morbid shape: beyond any doubt, this album is a truly impressive piece of metal. 

90/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on October, 2013)

KREATOR - Phantom Antichrist (2012)

Humans Are Phantoms, Humans Are Antichrists

Damn it, I expected much more!

Really, I read a countless number of reviews. The vast majority of them got enthusiastic final notes, so without any hesitation (man, this is another album of Kreator!), I decided to check “Phantom Antichrist” out. After first meetings with this, I was bashfully pleased with another Kreator product, but my positive impressions weakened quite fast. My doubts started to concern the music itself. As compared to the albums recorded after “Endorama”, the musicians made great play with… melody. Of course, the great eighties times are gone now, just like very hard, difficult next decade. Now, these persevering Germans perform… yes, what do they exactly perform? For sure, this is not a pure thrash, because they courageously bathe in the reservoir with two labels: heavy metal (strong Iron Maiden influences) and melodic Swedish death metal. Anyway, I got very professional product (as always) with memorable Wes Benscoter front cover.

Musically the band gave me a real kaleidoscope of emotions. I got well known songs, for sure the musicians didn’t forget about “Violent Revolution” album, yet I don’t treat it as a blind imitation of “Endorama” successor. Good, fast and aggressive riffs, venomous Mille’s vocals and characteristic melodies in chorus are the main elements of the title track and “Death to the World”, they are simply the best songs on the album… Unfortunately it’s very hard to write such words about the rest. Why? Because there are two songs that don’t fit to Kreator completely: “From Flood into Fire” (in slow tempo, with average portion of riffs and awful (!) melodic lines in chorus supported by choral singing, which make it a third league Grave Digger song) and “Until Our Paths Cross Again” (with many sugary pseudo melodies and unacceptable tempo changing, from nice and definitely and too sweety moments, to useless fast shots). And the remainder sits somewhere in the middle. The songs are varied for sure, there is no place for stagnation, and the band doesn’t bring any unpleasant surprises, as the clean Petrozza vocals (almost two minute singing in the beginning of “Your Heaven My Hell”) and fantastic solo leads by Sami (especially in “Victory Will Come”) are commonly known among the Kreator disciples. But! I am too far to be under the impression. In general, “Phantom Antichrist” is a very mediocre proposal with significant stylistic defects.

Writing some words about the final mark, one thing have to be declared: I’m a worshipper of the first Kreator era, still I have in mind all these great albums from the glorious past… And I arrive at the main conclusion that “Phantom Antichrist” suffers from the lack of thrashing brutality and (extreme) aggression. The worse thing, I guess, is that I will remember this record due to these songs that ruined the musical wholeness. That’s right, there are tracks that make my blood runs faster, where music has its fine moments, still I can see enormous potential for the future, but the remainder is unacceptable (two songs I mentioned) or almost unacceptable (thrashing killers with too festive melodies). The entirety has a perfect sound realization, unfortunately tempo changes effectively destroys many songs, when the band serves fast tempos by turns with sweet melodies and clean vocals. Even if this album is a much worse version of “Violent Revolution”, but mercifully still better than “Endorama”, the Kreator live tracklist got some new killer songs. In my opinion the album seems to be a first step for metal beginners, or gothic fans. Not so brutal, yet with memorable and easy tunes. Is this a true face of Essen thrashers? I don’t think so. Thus, should I be afraid of the next release? Time will show, naturally I don’t want to hear another “Pleasure to Kill” copy, however definitely more aggressive and mad stuff is needful. 

60/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on October, 2013)

HAEMORRHAGE / DEAD - Chainsaw Necrotomy / Dead (2008)

Necrotomy Kem: Becrippling the False Pathologists

This ten tracker split has only one hero. And only for the presence of him I bought it. Looking at my reviews on this site it is quite clear that the name of the winner is Haemorrhage. But in spite of it, I’d like to start my review writing something about the weaker side. The German Dead presents four tracks with one cover of Black Task and despite of being for a long time on the metal scene, this is my first meeting with them. Unfortunately the rendezvous really disappointed me. Yes, the sound realization is good, although the drums should be recorded better (they sound too flat), but the most important factor, music, is simply… boring. Yep, they are brutal, the music is based on fast or very fast tempo, yet they try to put some slowing moments into riffs layers and solo leads (“Sloopy Seconds”), vocals are varied from growls, guttural grunts to scream oriented demonstrations. But the riffs construction goes to nowhere. The music is simple, however the monotony kills effectively the overall impression. The entirety seems to be totally emotionless, and this is the biggest drawback beside the boredom.  For sure the German performance isn’t saved by porn intros (that make me fucking nervous!), completely stupid lyrics and easy- to- forget cover on the end.

Contrary to this, the Haemorrhage part simply destroys my senses once again. In their morgue, the sick Spaniards fried five songs in smashing gore/grind style and one Sodom cover. And to be honest, in the countless number of such releases, this one is a better kind definitely in their career. As compared to the previous full-length “Apology for Pathology” released in 2006, the band got more underground sound, maybe it is not recorded as Apology, yet it still slays my cells and tissues. Musically I don’t see any surprises, so expect only merciless goregrind. The opening song called “Chainsaw Necrotomy” (with idyllic intro on the start) is a pure killer on the gigs: great clear-cut riffs and perfect slowdown, though the last seconds show the real musical (?) madness too. And for sure this song joins the enormous hall of fame of Haemorrhage gore anthems. Thus I dare say aloud: what a mindblowing opening! But to be honest, I’m not surprised at all listening to such perfect song, the band accustomed me to perform the splendid tunes. And this track is an example for this definitely. The Spaniards combine extremely fast and slower moments in the songs, however mid-paced “Hypochondriac” has a really interesting solo lead as well. And maybe the last offer, “Ausgebombt”, originally executed by thrash metal gods Sodom (as the Spaniards stated in the booklet), is the weakest one on their side. I mean, it isn’t bad, simply the song is correctly played without any highlights. In this place, I’d like to hear another song of Gelsenkirchen crew.

It is very hard to mark this split in one way. I have one great band, while the second is a complete misunderstanding. So, if I want to use the mathematics, the statistics is unappeasable for this record: without Dead songs, I would give even 85. But the most important thing coming straight from this 24 minutes cd is: Haemorrhage is still in fine fettle. From artwork, lyrics to devastating music that flows unobstructed and Lugubrious vocalism. There is no useless move, each instrument has its own place bringing only sonic bestiality I love. Mind you, I’ve been Haemorrhage addict since ages, so I am greatly satisfied that these mad pathologists can satisfy my sick appetite once again. It’s really cool that they are still able to write another gore hits (the title song, “Hypochondriac” or “You Are Not a Pathologist”). And when the last seconds of “Ausgebombt” started to disappear in my auditory meatus, my mind demands another sonic necrotomy. Therefore I push the button again immediately to start to listen to these excellent twenty minutes of pathological Spanish sounds.  

60/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on September, 2013)