Cannibal Corpse - Torture

Cannibal Corpse

Torture

Metal Blade

Let's get one thing straight before we continue here; one given with 'Torture' is that there's no real surprises to be expected. Everybody knows what Cannibal Corpse brings to the table, and that's brutality, riffs, blastbeats and buckets and buckets of gore. That they're still doing this on their twelfth studio album and still remain at the top of the death metal is testament to their merciless delivery time and time again.

'Torture' quite up there with recent albums 'Kill' and 'Evisceration Plague', but those two albums were mercilessly brilliant and that doesn't mean 'Torture' is a slouch in comparison. Far from it. There is an ever so subtle shift in dynamic without dramatically cutting at what Cannibal Corpse do. There's more than one occasion where they're almost in groove territory, which, if you've not heard the new album yet, is not something to be alarmed by – the riffs are still ultra heavy and George 'Corpsegrinder' Fisher delivers his guttural vocals in much the same fashion too. There's also some sterling bass work by Alex Webster on here, the highlight being a ripping bass solo during 'The Strangulation Chair'. 

Cannibal Corpse - Encased in Concrete (official video)

To sum it up with various tracks is futile because Cannibal Corpse is Cannibal Corpse. But once again, Erik Rutan's has turned out a sterling production job and captured Corpse's bloodthirst on record supremely well again. One or two outlets have proclaimed this album as a career best although, once again, I would still take 'Kill' from their recent output, but even if you've heard everything they've had to offer before, this is still a worthy pick up, and you're one of the few people on this planet to have never heard Cannibal Corpse (where have you been?), now is as good a time to start as any.

Peter Clegg

Buy 'Torture' here

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Hammers of Misfortune - 17th Street

Hammers of Misfortune

17th Street

Metal Blade

If John Cobbett had been around about the time when heavy metal ruled the airwaves, he could well have been a metal god by now. Steadfastly remaining dedicated to true heavy metal through his time served in The Lord Weird Slough Feg, and more recently, he was one of the driving forces in now defunct, but critically acclaimed US black metallers Ludicra. Inbetween, he's also the main visionary for progressive heavy metallers Hammers of Misfortune, who've made a name for themselves in the States among critics in particular for their third three albums, all of which received high praise.

Malefice - Awaken the Tides

Malefice
Awaken the Tides
Metal Blade

Over the years, in my own personal opinion, the mainstream approach to modern day metal has declined. That sort as displayed by the New Wave of American Heavy Metal that made its uprising in the early part of the 2000’s. Maybe it’s just my own personal tastes, or maybe it’s just that those sorts of bands just aren’t as inspiring or creative as they used to be. Certainly I could point the finger at any number of (particularly American) bands who just appear to have stagnated, whether it’s just becoming more radio-friendly or just going with the all-out beatdown crowd. Maybe it’s that stiflingness that’s pushed me to explore variety.

That said, it’s not as though this sort of approach is a lame duck. If it’s done right, then it’s got potential to succeed. And Malefice do it right again on third album ‘Awaken The Tides’. Yes, David Mitchell’s favourite band return here with new drummer Chris Allen-Whyte and the result is ten tracks of explosive thrashy heavy metal that blows the competition out of the water.

Indeed, it still retains a heavy metalcore vibe, which is perhaps just a product of the popular sound at the time, but the key difference between them and their peers is the quality that lies beneath, as well as perhaps a lack of recognition – its self a product of being late to the party, or scene abandonment, or perhaps even being British?

In any event, the album itself is an enjoyable one worthy of repeated spins, starting off with a few quick blasts from new drummer Allen-Whyte on the title track. The usual traits of the metalcore sound are retained, including the Gothenburg-esque riffing, but the delivery is there to get necks moving, particularly during a brutal beatdown on ‘Delirium’. Even during the more atmospheric songs (e.g. ‘Minutes’), they still bring the brutality in their sound.

Fair enough, it’s a tried-and-tested formula, but Malefice have created a fine effort here, and its commendable they’ve not gone all out for the weedly-weedly approach that swamps/plagues metal today, and while retaining a level of melodicism to their sound, at least they haven’t gone for the pound sterling either. Whether they’ll get any more recognition for sticking to their guns is another issue, but it’s far from stale and you could do far worse than take a listen to this, even in 2011.

Peter Clegg

Buy ‘Awaken the Tides’ here

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Review: The Black Dahlia Murder - Ritual

The Black Dahlia Murder

Ritual

Metal Blade

While most of their peers have headed for the commercial route and generally struggled to meet high expectations or live up to previous efforts, Michigan’s The Black Dahlia Murder have managed to get better and better over the years, becoming successful while evolving musically in terms of refining their sound while not doing much to change it, except to make it that little more savage instead of being airplay friendly for the sake of going commercial. ‘Ritual’ sets about providing another round of pummelling melodic death metal, with further scintillating songs of the occult and the sadistic.

While there’s nothing particularly new about their style on this record, the Black Dahlia Murder have only gotten more precise with their attack over time. ‘Moonlight Equilibrium’ is possibly the catchiest BDM song to date, without losing any sense of ferocity. Its an ode to everything lycan and I defy you not to sing/scream along as Trevor Strnad shrieks ‘You’ll feel the pull of the moonlight equilibrium/pitch black transmission of the soul’. This isn’t any Twilight shit – this is one song about werewolves that will have you howling at the moon in no time.

Strnad’s lyrics continue to shift between occult themes and tales of horror, the blistering brief ‘Den of the Picquerist’ and ‘The Grave Robber’s Work’ two such examples that might have you wretching into your cereal if you’re of an uncomfortable disposition, but will have you banging your head throughout. Likewise, ‘Malenchantments of the Necrosphere’ proves BDM can find a slightly slower, thuddier gear and still be effective and closer ‘Blood of the Ink’ adds a symphonic element that doesn’t sound cheesy at all. It all adds to the atmosphere of the album.

Musically, The Black Dahlia Murder are firing on all cylinders, no doubt powered on by guitarist Ryan Knight (ex-Arsis), whose partnership with Brian Eschbach provides some incredible fretwork and soloing moments across the whole 45 minutes. Drummer Shannon Lucas puts in a real damn good shift behind the kit, blasting and pedalling the performance of his life, and combines well with bassist Ryan Williams throughout, particularly on their moonlighting intro to ‘Den of the Picquerist’. On top of all that, the production is a crystal job and designed to further annihilate.

Without a doubt, ‘Ritual’ is The Black Dahlia Murder’s best work to date; like any fine wine, getting better and better with age. I personally cannot wait for more grim tales from these guys.

Peter Clegg

Buy ‘Ritual’ here

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Review: Pentagram - Last Rites

Pentagram
Last Rites
Metal Blade

Here we are, fourty years down the line. Carrying a tumultuous past and a singer in Bobby Liebling with years of baggage, it’s incredible and somewhat perplexing that Pentagram have managed to survive, in one form or another, for all this time since their formation in 1971. They’ve gone through a plethora of band members, and didn’t get round to releasing their debut album until 1985; not to mention vocalist Bobby Liebling’s well-documented issues in the past, that to a certain extent hindered Pentagram’s progress. Nonetheless, Pentagram have stayed the course and undoubtedly are one of more recognisable names of America’s underground heavy/doom metal underbelly.

Pentagram 2011 are just as potent as they were all those years ago. ‘Last Rites’ is a riff fest from start to finish, and most of those are laden with bluesy grooves that will worm into your brain instantly. Indeed, it’s worth noting that the new album includes reworkings of tracks dating back to Liebling’s Stone Bunny days (‘Into The Ground; Nothing Left), and ‘Walk In Blue Light’ and ‘Everything’s Turning To Night’ were both records back in the 70’s as demos – see Relapse Records’ First Daze Here’ and ‘First Daze Here Too’ compilations. But that’s not to say this is just a rehash of old material. The old material retains their original structure and are brought thundering into the modern day. Happily, it doesn't fall out of place with the rest of the record and the end result is a classic band seemingly reborn.

It starts off fantastically – as far as I’m concerned, ‘Treat Me Right’ and ‘Call The Man’ make a fantastic one-two combo, the latter of which has a crunch that had the neck bobbing up and down on the morning train as I first divulged the album. ‘8’ is probably the most accomplished of the new tracks on show here, as Liebling delves into his troubled past with aplomb, driven by returning guitarist Victor Griffin’s layered riffage building into the mix over some sterling rhythm section action.
 
The only quarry here is that after that opening, the mid-section just feels like it falls slightly short; it sure captures that melancholy present in Pentagram’s sound, but for me doesn’t quite reach the heights of previous efforts – ‘Windmills In Chimes’ particularly strikes me as a little forgettable. The album does begin to pick up again towards the end, with the reworked ‘Walk In Blue Light’ and ‘Death in 1st Person’ being particular highlights, the latter of which sees Liebling speaking of horrors that would haunt you in your dreams.

Liebling is bang on form here, a heady mix of showmanship with an undeniable air of warning about it. You’re welcome to enter Pentagram’s cavern, but beware what lies in wait. You can never be quite sure of ‘what’ it is, and it may not be evidently obvious – but venture on anyway. Just don’t say you didn’t see the signs.

This is also Griffin’s first appearance with Pentagram on record since 1994’s ‘Be Forewarned’, and what a huge difference it makes. ‘Last Rites’ is chock full of fantastic riffs and this is in no small part down to Griffin’s presence. This is by no means a classic Pentagram record, but it’s definitely a solid one and in some respects a return to form.

Liebling, undeniably everything that is Pentagram, is now sober. Griffin is back in the mix, and a three-record deal with Metal Blade is signed and sealed. Let’s hope that Pentagram finally has a stable footing to forge a formidable reputation for themselves once again.

Peter Clegg

Buy 'Last Rites' here

Pentagram on MySpace

Metal Blade artist page