Dismember -- Massive Killing Capacity (review)

Band: Dismember
Album: Massive Killing Capacity
Genre: death metal
Year: 1995
Label: Nuclear Blast

One of the pillars of the old school Swedish death metal scene, Dismember released a monster of an album in 1995.  While their contemporaries shifted from pure death metal into death 'n' roll and melo-death, Dismember managed to fuse the three styles together seamlessly.  Some people seem to claim that this album marked the beginning of their decline; I would argue otherwise.  Now let's break into this masterpiece, shall we?
Massive Killing Capacity is somewhat of a variety show.  Tracks like "To the Bone" and the title track stick to the classic Swedish death metal tropes.  Razor-sharp riffs chug over kängpunk drum beats.  The vocals deviate slightly from the standard growling and are delivered as more of a shout.  Other tracks are more of a violent stomping-ground, like the opener "I Saw Them Die" and "Casket Garden."  Crushing grooves propel these numbers through the killing fields that the band personifies.  The band also displays a 'softer' side on "Collection by Blood" and "Nenia."  These songs showcase riffs that are focused on melody rather than speed or brutality.
Elements of death 'n' roll permeate the album.  Songs like "Casket Garden" and "Crime Divine" employ rock-ish grooves that differ significantly from the pure death metal riffs of, say, "On Frozen Fields."  The album's sixth track, "Wardead," combines both styles, employing pummeling death metal riffage in the verses and a catchy, groove-based chorus.
On this album, Blomqvist and Sennebäck prove that they are masters of their instruments.  Every single track is filled to the brim with intense, memorable riffs and absolutely crushing breakdowns.  Blomqvist's leads are stirring and prevent the songs from becoming stale.  The guitar-work is at its peak on "Nenia."  I typically do not enjoy instrumental tracks, particularly in death metal, but "Nenia" is an exception.  This track showcases a number of guitar solos and beautiful melodies which set up the album closer perfectly.
"Life - Another Shape of Sorrow" is a roller coaster of a closing track.  The opening funeral dirge is powerful and backed by a mournful organ.  This is followed by a more up-beat riff and some melodic leads before charging into brutal buzzsaw riffage.  About halfway through the song, an intense breakdown interrupts the chorus and pummels the listener.  The frenzy ends as the organ riff from the start of the track brings things to a close.
Easily one of the greatest death metal albums of all time; Massive Killing Capacity is the ultimate package of old-school Swedish riffage.  Give this masterpiece a listen for yourself here.


Rating: 5 / 5
Top Tracks:
Hallucigenia
Life - Another Shape of Sorrow
On Frozen Fields
I Saw Them Die

Behemoth -- The Satanist (review)

Artist: Behemoth
Album: The Satanist
Genre: blackened death metal
Year: 2014
Label: Nuclear Blast Records

When Behemoth released their first album since frontman Nergal's successful battle with cancer, there was a massive uproar across the internet.  The Satanist scored pretty high on many peoples' year-end lists for 2014, but I chose to skip over this one.  I never have been a fan of Behemoth.  At the time, I was only familiar with the song "Slaves Shall Serve" and possibly the new single "Blow Your Trumpets Gabriel."  Frankly, the Polish black/death giants just were not my cup of tea, but I have finally come around to listening to their latest effort -- three years later... and what an album it is!
The album opens with the aforementioned "Blow Your Trumpets Gabriel," which easily has one of the greatest metal riffs ever written.  The song is a constant build-up of tension that finally explodes into a whirlwind of blast beats and guitar leads.  I really like how Behemoth incorporate horns into the composition, as they add a nice atmospheric touch.  "Furor divinus" is a straight blaster that closes with a bang, and "Messe noir" oscillates between atmospheric mid-tempo rumbles and controlled blast beat assaults.
"Ora pro nobis Lucifer" is dominated by rolling double bass drumming and has the most memorable chorus on the whole album.  The band delivers a crushing breakdown and killer guitar solo before transitioning into the next track.  Like "Furor divinus," "Amen" is filled to the brim with high-octane blast beats.  Despite the very straightforward nature of the album so far, the band manages to keep the formula interesting with occasional symphonic elements, a gripping atmosphere, and memorable riffs.
The album's second half sees the band moving in a whole new direction entirely.  The title track brings in stronger rock elements while maintaining the dark atmosphere and death metal intensity.  The guitar solo at the track's climax is easily one of my all-time favorites.  The entire song was clearly built around the solo, as the tension built up during the verses and chorus is finally released in a torrent of notes.  "Ben Sahar" also has a more rock-oriented feel to it, accompanied by choral arrangements that give the track an epic feel.
"In the Absence ov Light" at first seems to be a return to Behemoth's repertoire of blast beats and pure black/death riffage, but an abrupt spoken word passage throws the listener for a loop.  A saxophone and acoustic guitars provide a backdrop for Nergal's monologue, delivered in the Polish tongue.  The final passage of the song consists of a droning, melodic riff accompanied by a mechanical drum build-up.  An intense feeling of despair washes over the listener as the instruments fade into blackness and the final track billows through the speakers.  "O Father O Satan O Sun!" is one of the best album closers I have ever heard.  Nergal layers multiple vocal parts to create a powerful choral effect that melds perfectly with the intense instrumentation.  The final passage seals the package perfectly with another spoken passage.
The Satanist is a powerful composition which explores a number of different ideas over its 44-minute running time.  This record easily rests among the greatest death metal albums of all time.  I am anticipating their next studio effort, but until then you can give this masterpiece a listen on YouTube here.


Rating: 5 / 5
Top Tracks:
The Satanist
Blow Your Trumpets Gabriel
O Father O Satan O Sun!
Furor divinus

Bloodbath -- Grand Morbid Funeral (review)

Band: Bloodbath
Album: Grand Morbid Funeral
Genre: death metal
Year: 2014
Label: Peaceville Records

When a band changes their style, they often generate a very mixed reaction among their fanbase.  Bloodbath are veterans in the modern death metal scene, and their fourth studio album sees the band changing things up a bit.
Grand Morbid Funeral is the embodiment of the old school death metal revival.  The band conjures a swirling atmosphere of absolute Swedeath filth, paying homage to their predecessors (Entombed, Dismember, etc.) yet at the same time keeping it fresh.  Each track is heavy-as-fuck yet offers up something unique.
The first two tracks set the stage (I'd call it a one-two punch).  Chock full of dirty, thrashing riffs and crushing breakdowns, the band refuses to hold back their fury.  "Anne" slows the tempo a bit with a gnarly, pinch harmonic-laden riff, and "Church of Vastitas" ventures into slow, churning doom territory.  The mood is set perfectly for the riff-heavy beast "Famine of God's Word" (arguably Bloodbath's best song).  The second half of the track is a chuggy breakdown overlaid with an ominous melody that builds in intensity until it finally erupts into a flurry of blast beats and shredding riffs.
In my opinion, the second half of the album is a little stale.  "Mental Abortion," "His Infernal Necropsy," and "My Torturer" fail to stick; however, "Beyond Cremation" and "Unite In Pain" manage to berate the listener with catchy riffs.  The title track closes the album with a slow funeral procession.  The pure essence of death doom metal is conveyed through the crushing riffs and distorted, pained vocals.
The main point of contention among Bloodbath fans seems to be the band's new vocalist, Nick Holmes (Paradise Lost).  I remember people complaining that he didn't fit the music, and his vocals sounded "weak."  I could not disagree more!  Old Nick fits the old school death style of this album perfectly.  What kind of '90s Stockholm death worship would be complete without one of the old breed amongst their ranks?  His vocals are powerful and nasty; a mixture of gloom and anger that melds well with the album's filthy production.
I highly recommend this album to anyone who enjoys old school death metal, particularly fans of the Stockholm sound as well as fans of early Asphyx.  You can give Grand Morbid Funeral a listen on YouTube here.


Rating: 3.5 / 5
Top Tracks:
Famine of God's Word
Grand Morbid Funeral
Total Death Exhumed
Let the Stillborn Come to Me

Dying Fetus -- Destroy the Opposition (review)

Artist: Dying Fetus
Album: Destroy the Opposition
Genre: brutal/technical death metal
Year: 2000
Label: Relapse Records

This year marks the 17th anniversary of the release of Dying Fetus's third full-length, Destroy the Opposition.  This album stands as one of my personal favorites in the death metal genre, alongside such classics as Leprosy and None So Vile.
Dying Fetus are a brutal death metal band from Baltimore Maryland.  Formed in 1991, the band has released album upon album of grade-A death metal.  Each release is jam-packed with memorable riffs, technical fury, and crushing grooves, and their 2000 outing is no exception.
The opening riff of "Praise the Lord (Opium of the Masses)" is an infectious groove that hits like a train without brakes.  The band wastes no time getting to the point as they sling riff after riff at the listener, supported by Kevin Talley's rapid-fire blast beats (I might add that the drum production on this album is among the best).  The title track follows, and closes with a cataclysmic breakdown as Gallagher and Netherton command the listener to, as they so eloquently put it, "DESTROY."  The trade-off vocals are signature of Dying Fetus's style.  Netherton bellows in a fashion reminiscent of the Florida scene while Gallagher delivers a more guttural growl akin to Frank Mullen of Suffocation.
The band's lyrics are easily some of my favorites.  Vicious and dripping with social commentary, Dying Fetus step away from the stereotypical gore lyrics of most brutal death (not that I have anything against such themes).  The lyrics to "In Times of War" detail the aftermath of nuclear Armageddon, while "Praise the Lord" criticizes those who use religion as a justification for violence.  The band leave few stones unturned as they tear modern society to pieces.
Tracks vary between blistering attacks ("Born In Sodom" & "Pissing In the Mainstream") and groove-driven chugfests ("Epidemic of Hate").  Every riff and breakdown is expertly crafted and executed with precision.  Nothing seems out of place with this record, and every track packs a deadly punch.  I encourage everyone to give this record a spin.  You can listen to it on YouTube here.


Rating: 5 / 5
Top Tracks:
In Times of War
Praise the Lord (Opium of the Masses)
Justifiable Homicide