Monday, March 14, 2016
When the punk beat kicks in for the opening "Throne Of Fire," it becomes clear that Revengeance will be the band's fastest effort to date. They've always placed the odd upbeat track between the longer drones of amplifier worship, but there's not been much like the driving parts or the borderline black metal blasts on the title track before. Fortunately, the massive guitar and bass chugs keep the various tempo fluctuations consistently weighted.
Faster moments aside, the slower songs remain the most dominant and boast their own variety. While "Wrath Gauntlet" stands out for its sluggish blues rhythm, the second half provides the most earth-shattering cuts. "Every Man Is An Enemy" keeps its activity to a mid-tempo level while "Earthenguard" is a meditative track that recalls classic Om and makes strong use of its near twelve minute running time.
But in a way similar to Mastodon's maturation, the vocal evolution that Revengeance demonstrates is what truly sets it apart from its predecessors. The format is still based on the guitarist and bassist yelling over the riffs but their prominent spot in the mix makes them more articulate than before. In addition, the more fleshed out lyrics make the vocal lines more elaborate than the simple battle slogans and there are more trade-offs between the two singers. I would've loved to hear how previous bassist Phil Coumbe would sound contributing his bellow to this, but there's not much here to complain about.
I may prefer Blood Eagle but Conan's third full-length album will likely leave a deeper impression. Its forays into faster tempos and more prominent vocals work well with their brand of sludgy brutality and may even enhance the ideas behind their barbaric imagery. I don't see them getting as far out there as Mastodon or Baroness, but there is more to their boneheaded formula than meets the eye.
"Every Man Is An Enemy"
Wednesday, March 9, 2016
While the production job and musicianship may have more polish than past efforts, And Then There Were None has the band's signature tropes firmly intact. The riffs are executed in a sludgy stoner fashion and the sparse samples run well with the usual lyrical themes of non-fictional sadism, torture, and murder. Mikami's bass lines predictably lead the charge but the other members find ways to leave strong impression. Eric Little's drumming directs the tempo changes well, guitarist Dave Szulkin puts a pummeling stamp on the material, and Scott Carlson's first vocal session since the early days of Repulsion sees him pull off a husky yet melodic growl that channels Lee Dorrian and Earthride's Dave Sherman.
The songs aren't bringing much new to the table but they are satisfying in their variety. The mid-tempo grooves on "Make Them Die Slowly" and "Confessions of an Embittered Soul" are among the most infectious ever recorded and the swing on "Doctor Death" is truly something to behold. Like any doom band, you'll find your share of Sabbath homages as "Suicide Journey" is a "Planet Caravan" style interlude while the shuffle on "River Demon" is a near beat for beat echo of "Wicked World."
The logistics surrounding this lineup may lead to it being a temporary studio venture, but And Then There Were None is more than worthy of being associated with Church of Misery. While it may not be as gritty as some of their other efforts, the excellent riffs and vicious vocals make it a shining example of how this genre should be played. Highly recommended to both new listeners and thoe who thought that Thy Kingdom Scum would be the Church's final sermon.
"The Hell Benders"
"Make Them Die Slowly"
"Confessions Of An Embittered Soul"
Saturday, March 5, 2016
The variety is welcome and nothing sounds out of place, but it does feel like the elements of each style tend to cancel the others out. The distant production job diminishes some of the impact that the heavier riffs aim for while the looser jams can feel somewhat stilted at times. At first, one may wonder if the band may need to focus more on certain aspects of their sound but it may just come down to a need for more charismatic musicianship.
The title track starts things off in a heavy fashion and the following songs are pleasant enough to listen to, but the second half is where things really get interesting. "Slow Death" is easily the album's biggest highlight as its bluesy Deep Purple swing brings in a great deal of energy and the rhythm section shows off some strong chops during the jams. "The Seers" and "The Eldest Tree" also do a good job of standing out thanks to their more powerful riffs and memorable vocal lines.
A greater sense of conviction would make Brimstone Coven's second full-length album a modern classic but the solid songwriting and their genre's inherent listenability still make it worth checking out. The numerous styles that are presented here give the band a lot to work with and greater potential for even more interesting efforts in the future. In the meantime, Black Magic is a safe listen for fans of all things doom and 70s rock.
"The Eldest Tree"
Friday, March 4, 2016
But while the band members put in stellar performances and every instrument is frequently able to be heard, the production does feel a bit off balance. Cody Johns' nonstop drum attacks provide plenty of power but also feel rather cluttered at times. Logan Detwiler's vocals are more confident than before but he still seems to finding his footing in the grand scheme of thing. Fortunately, the guitar harmonies are the subject of many shining moments and bassist Ian Bender's bass constantly demands attention at a rate not seen in power metal since classic Helloween.
The songwriting also makes up for any flaws in the presentation. After two solid opening tracks, things get interesting as a trilogy of songs based on the Mad Max series comes blazing through. "Mad Max" and "Road Warriors" offer the album's most focal points of thrash influence while "Thunderdome" is a mid-tempo fight song complete with infectious battle chants, dark rhythms, and a couple appropriate samples. From there, "Quest For The Holy Crown" is a righteous nine minute track and "Battle Hymn for the Victorious" fades out on an epic Manowar inspired refrain.
Overall, Zephaniah's sophomore effort makes up for the time since its predecessor by outdoing it in just about every way. While the production feels jumbled, the musicianship and songwriting are impressive enough to make them a noteworthy entry to the modern American power metal scene. Here's hoping their third album doesn't take as long and also manages to shove a tune about FUry Road somewhere in time...
"Battle Hymn of the Victorious"
"Battle Hymn of the Victorious"