Ulcerate at Myspace

Ulcerate hails from New Zealand, and have sent out an awesome slab of death metal that balances both technical and brutal aspects incredibly well; “Everything is Fire” truly combines the best of both worlds while not sacrificing songwriting at the altars of either subgenre. All eight of its songs are over five minutes, but none feel overlong Instead of relying on blast beats or just showing off how fast they can play, Ulcerate were smart enough to include some slightly slower and quieter (but still brutal) sections. These do a great job of making sure the record doesn’t bog down in monotony like some other tech-death bands (Origin, anyone?)

The vocals aren’t bad at all, but they’re not quite as good as the instrumental backing, as they tend to sound a bit samey after a while, with a bit too much yelling and not enough guttural growling. I also didn’t like the fact that the guitars drowned out the bass and (to a lesser extent) the drums most of the time, but I don’t really have any other complaints. This is an essential death metal release and one of the best of 2009 to date.

Porkfarm at myspace

Playing a style of Death Metal very similar to Dying Fetus, Brain Drill, Necrophagist, and Beneath the Massacre, Young English Death Metal act Porkfarm display an apt control over both the brutal and technical sides of the genre. They keep the technical wizardly and the “slam” side of their sound under control displaying in where the song progresses to a point where either of them is needed but not veering off into either direction willy-nilly and it is this disciplined approach that gives this six song EP an air of supreme professionally.

At Nineteen minutes this release makes you demand more. Along with the Tech-Death and Slam influences some of the songs such as “Suffer” and “Torn Apart” have some old school influences such as vintage Morbid Angel and Deicide, and with many new bands falling into the deathcore/wigger slam trap its great to see a new band making death metal how its supposed to be made. Definitely one to watch in the future

Meshuggah at Myspace

Let’s face it the quality of Meshuggah’s material has been on a downward spiral since 1998’s “Chaosphere”. 2002’s “Nothing” was a mid paced boring trudge and 2005’s “Catch Thirty-Three” was an overly pretentious journey to the musical equivalent of the middle of nowhere with nothing to show for it. The problem with both of those releases is they were too obtuse and for want of a better term ‘mathematical’. You are probably saying “but the whole point behind Meshuggah’s music is their use of complex almost mathematical rhythms; how can their music be too mathematical!” The problem is when the mathematics overpowers all the other elements of the bands formula so that it becomes a staid series of theoretical musings in obscure time sequences and forgets the adrenalin rush and off kilter momentum that made songs such as “Future Breed Machine” and “New Millennium Cyanide Christ” so memorable.

The songs on “Nothing” and “Catch Thirty-Three” had the momentum of a bulldozer stuck in quicksand and instead of making you want hurl yourself around your room instead lulled one into a feeling of drowsiness. “ObZen” at first listen seems to have rectified this problem with the first song “Combustion” which is a full throttle poly-rhythm attack that engages the senses like having a hive full to the brim of hornets flung at you at top speed. In theory if there are a few fast songs on “ObZen” then that should allow the slow ones to be more memorable as they won’t blend into one featureless mid paced chug a la “Nothing”.

However, this is not the case as the next six songs are mid paced and whilst tracks such as “Lethargica” and “This Spiteful Snake” have unnerving yet atmospheric discordance that the material on “Catch Thirty-Three” could never hope to achieve. Unfortunately tracks two to seven to seem to blur into half an hour of mathematical chugging nearly always at the same tempo that betrays however unworldly and mind-blowing this material may appear to be at first listen, when presented like this with not enough fat cut away from the meat, the Meshuggah sound seems as formulaic as Cannibal Corpse or Dark Funeral.

“Pravus” is a faster paced and less samey track which helps to some degree to bring any listeners attention that may have wandered back to the fore. It’s too late though as it’s the penultimate track and its now the turn of the nine and half minute album closer “Dancers To A Discordant System” to finish off the job of disappointing us once more. A moment roughly around 5:45 is oddly reminiscent of Gojira which isn’t surprising given the influence Meshuggah have had upon them, but it further hammers it home that barring a surprise return to form, Meshuggah’s time as innovators and leader seems to be over. With one brilliant track with the rest ranging from “kinda alright” to “deserving to be on “nothing” ” this has proven to be a disappointing album.

The Faceless at Myspace

The Faceless are sometimes wrongly dumped in with the Deathcore camp due to their touring partners, record label and a few breakdowns (which came from Death Metal anyway) that is to be founded littered in the sea of technical Melodic Death Metal. Stylistically nothing new is done here, but it’s done in one hell of an entertaining way. Think about a more melodically inclined Necrophagist mixed with Arsis and some of the Later The Crown material with at least one Grave/Bolt Thrower style breakdown and some nifty keyboards thrown into every song. The only black mark on the record is “Horizons of Chaos 2: Hypocrisy” which sounds like Necrophagist masturbating over On Broken Wings corpse and should have been taken off the record. The other 7 tracks are pretty much quality in the guilty Gothenburg wannabe pleasure stakes.

As previously stated its not exactly reinventing the wheel, but in these day and age finding any sort of new record with a melodic death element that isn’t absolute wank is quite an unusual event so this one can be filed along with Arsis, The Absence and Nightrage as nostalgic but not world shattering music for those of who got into heavier metal via discovering the melodic death metal sound by accident sometime in the early 00’s. I can’t be the only one who by somehow hearing an At the Gates or In Flames song realised there was more to metal than just the classics, and if you have had a similar introduction to metal, you might find some value in something that’s a pleasant trip down memory lane without listening to your nearly worn down copy of “Slaughter of the Soul” again.

Sickening Horror at Myspace

Sickening Horror Hail from Greece and at the time of this recorded had Nile drummer George Kolias in their ranks. This is quite an interesting death metal record that features black Metal and jazz elements and is certainly an album worth exploring if you like experimental death metal that retains most of all the atmosphere and hallmarks of the genre that we all know and love. “When Landscapes Bled Backwards” displays a discreet technical edge in that although these guys could if they wanted to spend their time pulling some Necrophagist style material off, they use their extremely proficient skills only when it suits the song itself allowing the groove of the tracks on display on here to flow admirably and naturally.

The death metal style on display mixes a more technical take on post-Chris Barnes Cannibal Corpse with a more bombastic and chaotic Morbid Angel circa “Blessed are the Sick” with just a pinch of Vader. Now if this was just what Sickening Horror were about alone they would be of interest to devoted fans of Death Metal at the very least, but the combination of Black Metal and Jazz influences makes this release rise above being something only of interested to genre devotee’s. Avant-Garde Black Metal bands such as Dodheimsgard and Ved Buens Verde are cited as influences and this can be seen in both the searing icy ‘almost BM, but not quite’ passages that punctuate the death metal segments at point and the industrial keyboard effects that add an unsettling ambience to certain tracks.

The jazz influence can mostly be seen in the rhythm section pairing of Kolias and bassist Ilias Daras, who bring a highly technical and novel approach to the concept of a Death Metal rhythm system whilst not forsaking any of the concepts and facets that Death Metal fans have come to expect. Daras’s performance on this album is highly impressive with his bass work being reminiscent of Steve DiGorgio’s work with Death with “Forsake my Bleeding” being a prime example. On the eighth track “Virus Detected” Sickening Horror do something a little difference and massively increase the Jazz elements of their sound to create an almost linear piece of work which sounds like Ephel Duath being beaten up at a death metal gig.

This is an experimental Death Metal album that dares to leap into the unknown but still has enough genre trademarks within it to appeal to traditionalists but crucially without isolating those who want something more on the edge. In conclusion it’s well worth a purchase.