Author: HailnKill

WITCHERY „Witchkrieg”

Melody and the brutal burgers are two ingredients that are hard to balance within a particular aural dish. Thanks to a little supergroup magic however, the two coexist most harmonious and explode in hellish fireworks across the 40 odd minutes of “Witchkrieg,” the uncompromising new album from Sweden’s preeminent extreme heavy metal, uh, supergroup.

COG „Culling”

Cog have been around for the better part of this decade and to their credit, the sextet easily rank among South East Asia’s most promising bands. Their sound the sum total of influences whose breadth spans several familiar genres, for this sophomore album titled “Culling” the band remain ever unpredictable and begin matters on an interesting note with the riveting opener “Dissolve.” Comparing Cog to any modern band would be difficult, so let’s just forget the references and dissect the songs here.

EXODUS „Exhibit B: The Human Condition”

Exodus have developed a taste for subtle intros as of late, thus explaining the soothing start to “The Ballad Of Leonard And Charles” that fires our anticipation before the brutal stuff commences. As the dueling guitar leads pave the way for the machinegun percussion, Exodus careen headlong into epic territory as Rob Dukes, Gary Holt, and the rest of the gang deliver ultraviolent thrash with all guns blazing.

TESTAMENT „The Formation Of Damnation”

Two years since they rejoined the scene, Testament hardly need an introduction anymore. What else can be said of the Bay Area fivesome? They belong to a hallowed pantheon whose current work has eclipsed even their past ‘classics.’ Such is the case with “The Formation Of Damnation,” a mammoth comeback where most of the original lineup have buried their past grievances to reinvigorate the band’s interrupted legacy.
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THE GENERALS „Stand Up Straight”

Ever the fount of metallic goodness, this year Sweden gives us The Generals: four musical tough guys (one of them’s named a very Viking Hednar) whose sound straddles thrash metal’s intensity and the peculiar death n’ roll subgenre. Kicking the door down on this oddly named “Stand Up Straight” debut is the no-bullshit opener “Blessing In Disguise” that introduces the listener to the band’s penchant for solid riffs and battering percussion corsetted in melody.

THE GENERALS „Stand Up Straight”

Ever the fount of metallic goodness, this year Sweden gives us The Generals: four musical tough guys (one of them’s named a very Viking Hednar) whose sound straddles thrash metal’s intensity and the peculiar death n’ roll subgenre. Kicking the door down on this oddly named “Stand Up Straight” debut is the no-bullshit opener “Blessing In Disguise” that introduces the listener to the band’s penchant for solid riffs and battering percussion corsetted in melody.

DREAM EVIL „In The Night”

Their music among the purest expressions of power metal imaginable with its shameless cheese and mighty emphasis on melody, Dream Evil are still quite the funny bunch. Having forged a career unequaled in terms of sheer ridiculous-ness that began with the Dungeons n Dragons themed “Dragonslayer” to the near-perfect “Book Of Heavy Metal” followed by the retrogressive “United,” all guns blazing has always been Dream Evil’s marching orders despite the accompanying snickers from their audience.

SCAR SYMMETRY „Dark Matter Dimensions”

Forging ahead despite vocalist extraordinaire Christain Alvestam’s abrupt departure last year, Scar Symmetry continue with the business of melodic death metal married to alternating vocals on their breathtaking “Dark Matter Dimensions.” The difference this time around is two people are needed to fill Mr. Alvestam’s shoes; you have the growlsome Robert Karlsson opposite Lars Palmquist’s majestic throatwork.

PARADISE LOST „Faith Divides Us, Death Unites Us”

Having churned out a storied discography that has seen its fair share of ill received albums, Paradise Lost are in fine form with this year's embittered “Faith Divides Us, Death Unites Us.” The title a not-so-subtle swipe at organized religion’s divisive effect on humanity, the lyrical fare on this twelfth album does spread itself across a broader message—or should it be messages? For the heartbreaking opener “As Horizons End,” Nick Holmes’ deep vocals sweeps the listener away with its earnest emotion while the lyrics moan about personal shortcomings. When it’s done, the band go a shade darker for its follow up “I Remain” then let loose the melodic fireworks on the soaring “First Light.” The somber ride continues on “Frailty” that arrives before a passable title track churns for a few good minutes.
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