Category: metalcore

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Horizon Ignited – Towards The Dying Lands – Album Review

Artist: Horizon Ignited

Album Title: Towards The Dying Lands

Label: Nuclear Blast Records

Date of Release: 1 July 2022

A combination of melodic death metal and Finland? That sounds like a marriage made in heaven to me. For a start, there’s no doubting the heavy metal credentials of this country across a huge range of subgenres, but it is also home to my favourite melodic death metal band of all time: Omnium Gatherum. Reading that the guitarist for this band and Insomnium, Mr Markus Vanhala, makes an appearance on the title track with a lead solo just sealed the deal and I willingly placed my ears in the care of ‘Towards The Dying Lands’, the sophomore release from Horizon Ignited, following 2019’s debut ‘After The Storm’.

Formed in 2017, Horizon Ignited is a sextet comprised of vocalist Okko Solanterä, guitarists Johannes Mäkinen and Vili Vottonen, keyboardist Miska Ek, bassist Jukka Haarala, and drummer Jiri Vanhatalo. And whether or not you’ll like this record will depend on a few factors including how you prefer your melodic death metal to sound. We all know how varied the output can be when placed under this loose and overarching description, and Horizon Ignited have a very definite approach. Put it this way, if you’re wanting to hear the next Omnium Gatherum, this isn’t the record for you. Equally, if you want a similar sound to Amon Amarth, At The Gates, or Insomnium, there’s a fair chance that you’ll end up a little disappointed I’m afraid.

Instead, the tack that Horizon Ignited have chosen sees them more closely aligned to more current era In Flames, with a hint of the melodic end of Dark Tranquillity peeking through. Add to this a modern sheen, a reasonable dose of metalcore and some moments where alt rock plays a part, and you’ll be in the general vicinity of these Finns’ output. Going in blind to this album, with only the words ‘melodic death metal’ and ‘Finland’ in my mind, I must admit I was surprised by what I heard subsequently. Not one to arbitrarily dismiss a band because it wasn’t what I was expecting, I charged on regardless to see what I thought.

Having done just that, I’m going to be honest and say that the style of music that Horizon Ignited offer up on ‘Towards The Dying Lands’ is probably not what I’d normally choose to listen to, but that doesn’t mean that the finished article is not without merit. For my personal tastes though, the music is just a bit too polished, a bit too clean, a bit too mainstream-sounding, and at times, not quite heavy enough to send me off into raptures.

Despite this summary, there is plenty that I can still get on board with. As such, I think that the band should be commended that their performances and song writing ability are such that I can still find a certain amount of enjoyment with their music even if it doesn’t sit within my normal wheelhouse. The music is definitely catchy and melodic, so that’s an element that’s very hard to ignore for a start.

From the outset, there’s a demonstrable In Flames vibe within the guitar tones and the chosen riffs of ‘Beyond Your Reach’. The song rides along at a solid mid-tempo, with chunky guitars and a strong rhythmic spine, the growls of Okko Solanterä properly deep and powerful too. The chorus, however, reveals a clean approach that’s far more melodic and mainstream, almost befitting an alt-rock or nu-metal band. The song is well put together and reasonably memorable, but even at this early stage, I’m searching for a ‘wow’ factor, or interesting USP that fails to fully materialise.

This lack of a unique selling point continues as the album further develops, with song after song delivering some decent riffs, a nice hooky chorus, and the familiar blend of gruff and clean vocals. Tracks like ‘Servant’ or ‘Reveries’ will get stuck in your head because they are enjoyable compositions, that benefit from a good production that affords clarity to all concerned. But there just isn’t enough here to convince me that ‘Towards The Dying Lands’ is anything truly special unfortunately.

A few of the songs either open with clean vocals or feature this delivery more prominently. When this is the case, the melodic death metal descriptor becomes that little bit more tenuous to say the least. The title track is one of these very songs, which despite featuring the guest lead solo from Omnium Gatherum and Insomnium’s Markus Vanhala, sounds more like a meaty mainstream heavy metal song rather than a cutting or bludgeoning slice of death metal. Other tracks of this ilk include ‘Guiding Light’ with its sprawling chorus that has more of an EMO, or metalcore vibe than anything approaching extreme metal. Then there’s the quasi-ballad-like ‘Arching Wings’ which is catchy as hell, but as heavy and edgy as the storylines in Peppa Pig.

Occasionally, the aggression is increased to include a more vibrant and faster beat from the drums and bass, such as ‘End Of The Line’ for example. But these moments feel like they are the exception rather than the rule, leading to a firm impression in my mind that this album is just too smooth and, dare I say it, safe.

As you all know, I vehemently dislike writing reviews that are anything less than positive. However, if I am to listen to more and more music in order to bring readers as much new material as possible, it is inevitable that this will happen with greater frequency. Nevertheless, I always try to steer away from being negative without being constructive in my criticism. Ultimately, Horizon Ignited’s music found here on ‘Towards The Dying Lands’ may not be to my personal taste, but I’d still urge anyone to give it a listen because the content of this record is professionally crafted and well executed. It might even be your next great discovery.

The Score of Much Metal: 72%

Check out my other 2022 reviews here:

Municipal Waste – Electrified Brain

Paganizer – Behind The Macabre

Philosophobia – Philosophobia

Darkane – Inhuman Spirits

Exocrine – The Hybrid Suns

Fallen Sanctuary – Terranova

Deathwhite – Grey Everlasting

Charlie Griffiths – Tiktaalika

Seven Kingdoms – Zenith

Brutta – Brutta

White Ward – False Light

Winds Of Tragedy – As Time Drifts Away

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

Kreator – Hate Über Alles

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Pure Reason Revolution – Above Cirrus

Demonical – Mass Destroyer

I Am The Night – While The Gods Are Sleeping

Haunted By Silhouettes – No Man Isle

Delvoid – Swarmlife

LionSoul – A Pledge To Darkness

Watain – The Agony And Ecstasy Of Watain

Dischordia – Triptych

Dragonbreed – Necrohedron

Audrey Horne – Devil’s Bell

Vanum – Legend

Stone Broken – Revelation

Radiant – Written By Life

Skull Fist – Paid In Full

Hurakan – Via Aeturna

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Hurakan – Via Aeturna – Album Review

Artist: Hurakan

Album Title: Via Aeturna

Label: Lacerated Enemy Records

Date of Release: 15 April 2022

The reason I’ve never checked out Hurakan before, is because of the looming ‘metalcore’ and ‘deathcore’ tags that have always been used to describe their music. Born in 2015, the French quartet burst onto the scene in 2017 with their debut full-length, the preposterously titled ‘Multiversal Entities Of Abhorrent Hatred’ and have since released another album, ‘Abomination Of Aurokos’ in 2019. Those who know me, know that I have a healthy suspicion of anything too overtly ‘core’, and so I was fully prepared to let Hurakan’s third album pass me by too. However, one thing I’ve noticed more and more of late, as I’ve got more and more into the techdeath arena, is that there is often a very fine line to be drawn between technical death metal and deathcore. And so, with a press release that referenced ‘a new era’, ‘mature’ and ‘more cohesive’, alongside a new logo to back this up, I heard enough to give this a try. Plus, it’s 2022, the year that I try to review anything and everything.

I try not to read any other reviews prior to penning my thoughts about a record but I happened upon a couple by accident when doing my research. The tone of these reviews ranged from the positive to the very positive, and I can certainly see why. ‘Via Aeturna’ is a vicious and energetic so-and-so, that sees the four-piece deliver a well-honed, aggressive, and heavy record that will clearly delight the hordes of deathcore fans out there. I’ll admit that I’m less sold on the album, but I will concede that this has more to do with my personal tastes than the quality of the music delivered here.

What I do like about ‘Via Aeturna’ is the orchestration that features throughout. It provides another dimension to the music, and gives a greater sense of richness and gravitas to the compositions. Credit therefore has to go to Philippe Parickmiler who is responsible for the arrangements, working alongside guitarist and only surviving original member Maxime Maréchal, bassist Raphaël Darras, drummer Thomas Crémier and vocalist Danny Louzon to pull this album together.

The album gets off to a great start with ‘Imperium’, which features the first of three guests in the form of Kyle Anderson of Brand Of Sacrifice. That is, once the odd, distant opening that has me checking my speakers, departs to allow the full force of the music to assault the ears. The orchestration is bold and symphonic, with a dark undertone to it, whilst the drums mete out a solid, beat, joined by marching riffs at a mid-tempo. When Louzon’s screams enter, the pace is picked up, with blastbeats aplenty, but the song retains its symphonic and surprisingly strong melodic nature. Right on cue though, at the halfway mark, in comes a thunderous modern beatdown, break, call it what you will – it’s the main bit about the ‘core’ genre that I dislike most if I’m honest. Cast aside these chuggy sections, and the remainder of the track is a definite winner, with nice changes of pace and intensity, delivered with skill.

Unfortunately, I am unable to simply ‘cast aside’ all of the breakdowns from there on in, because as is the Hurakan way, there are so many of them. They don’t entirely ruin my enjoyment of the record, but they are a fair barrier for me to overcome it must be said. It’s a shame too, because the extreme death metal aggression and technicality is superb. ‘Void’ sees some warp-speed pace that’s scintillating, as well as another dramatic, foreboding opener. There’s a catchiness to the chorus too that’s easily likeable, whilst the metalcore elements are kept more in check, just a little.

‘Abyssal’, which features guest Filip Danielsson of Humanity’s Last Breath, is another great composition, that has a Fear Factory feel at the outset thanks to the sounds used, before this is blasted away with seriously heavy death metal. I really enjoy the moments of quiet calm within the song, that demonstrate that maturity as referenced by the band themselves in the press release.

If I’m honest, I do lose a little of my interest in the middle-to-latter stages of ‘Via Aeturna’. There is still plenty of music to enjoy, but I get a little tired of the chug-chug deathcore elements that seem to creep into just about every track. Tracks like ‘Asmodeus’ and ‘Vagrant’ spring immediately to mind at this point. Mind you, this is clearly their style and kudos to them for not entirely changing their approach in the pursuit of a reset and refresh.

What is interesting and worthy of some exploration, is the closing seven-minute title track, which sees something entirely different from Hurakan. The opening is slow, deliberate, and melodic, with the ensuing song featuring some beautifully delicate and warm melodies created by the strings within the orchestrated parts. The metallic chaos actually takes a back seat for an appreciable amount of the track, whilst there are no vocals whatsoever. The soundscape that the band create, with the help of guest musician, Raphaël Verguin of Psygnosis, is nothing short of brilliant, with atmosphere very much the key ingredient. ‘Oh if only more of the record was like this’, I think to myself. But then, if that were to be the case, then it clearly wouldn’t be Hurakan, and they’d alienate their entire fanbase totally, just to please me.

So, in short, I do like this new album from Hurakan; there is much about ‘Via Aeturna’ that will please fans of technical death metal and metalcore/deathcore. If this is your taste of music, then I very much recommend this album to you as it’s very good. For me though, whilst it helps to maybe break down a few more of my personal taste issues, it demonstrates to me that I am still not a fully sold fan of music that contains too much of a ‘core’ element to it, in spite of how very good every other aspect of it might be.

The Score of Much Metal: 78%

Check out my other 2022 reviews here:

Incandescence – Le Coeur De L’Homme

Imminent Sonic Destruction – The Sun Will Always Set

Monuments – In Stasis

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Monuments – In Stasis – Album Review

Artist: Monuments

Album Title: In Stasis

Label: Century Media Records

Date of Release: 15 April 2022

My general aversion to full-on djent over the past decade or two has meant that UK-based metal band Monuments have never been high on my list of bands I’ve wanted to keep up with. I have listened to their previous material more out of a sense of obligation than desire, simply because I feel that I need to listen to everything labelled ‘progressive’. It may cover a multitude of styles, but ‘prog’, loosely, is one of my favourite genres of music. But where Monuments, and others of their ilk are concerned, theirs is a style that has always been too overtly modern and djenty for my tastes. Not only that, but I’ve always heard a little too much of the dreaded ‘metalcore’ where Monuments are concerned in the past.

As with other styles of music over the last year or so though, I have seen a thawing of my djent opinions in particular, and so it felt like a no-brainer to give this latest effort from Monuments a go. Not only that, but ‘In Stasis’ is the first album to be released with new vocalist Andy Cizek, who has replaced Chris Barretto behind the mic. And with long time guitarist Olly Steele recently leaving, to reduce Monuments to a four-piece, my interest was piqued enough to see how Monuments would fare in 2022 with this, their fourth full-length release.

Given all of these changes of late, the album is somewhat ironically named. However, as the band are keen to explain, the title was born out of the fact that “the album became centered (sic) around the concept of being in stasis, stuck in the middle of a power struggle with oneself.”

Not being massively knowledgeable on the last three records in their discography, I will leave it to others to play the ‘compare and contrast’ game. What I will say at this juncture though, is that ‘In Stasis’ has surprised me a little. The core sound, dominated by those chugging djent riffs in clever time signatures remains very much intact, as does the injection of melody and the juxtaposition of harsh and clean vocals. But I wasn’t expecting ‘In Stasis’ to be this enjoyable and, dare I say it, this varied. There is plenty of material on this fifty-minute album that got me smiling or raising an eyebrow in appreciation. I like it when that happens.

‘No One Will Teach You’ starts things off on ‘In Stasis’ and if I was to listen to this track in isolation, I’d think that very little has changed from what I’d heard from Monuments before. It’s full-on djent attack, with those familiar chunky riffs and powerhouse rhythm section, with vocals that flit from spiteful growls, to a higher-register clean delivery. I’m still not sold on the more metalcore ingredient that’s the shouted/spoken approach whilst I have to really be in the mood for the kinds of breakdowns that this music generally brings with it. But in spite of this, it’s an interesting song that I don’t dislike anywhere near as much as I thought, probably because of the nice complexity that sits within the spiky, muscular heaviness.

It’s with the introduction of the second track, ‘Lavos’, that my attention is more fully grabbed. It starts off at a furious pace, naked aggression held in check by excellent musicianship all round. Within moments, everything drops away though to leave Cizak to sing alone with only the barest hint of a soundscape behind him, subtly cinematic, and with a dark vibe. And then, when the chorus hits, the vocalist lets rip, leaving a path of destruction in his wake; the sheer variation in Cizak’s delivery is exceptionally impressive, but so is the song overall, as it brings in melody, variety, and a thoroughly engrossing sound. If the entirety of ‘In Stasis’ followed suit, I’d be waxing even more lyrical than I am now.

That said, there are other compositions amongst the ten that really hit the mark as far as I am concerned and show a band that’s willing and able to try new things along the way. On that score, I’d pick out ‘Cardinal Red’, ‘Collapse’, ‘The Cimmerian’ as definite album highlights.

The former, ‘Cardinal Red’ features arguably the strongest of all of the melodies on ‘In Stasis’. The opening sequence sees a seesaw between naked aggression and more reserved passages that hint at the melody to come. And when the chorus descends, it’s truly beautiful. The subtle electronics that sit beneath the guitars, bass, drums, and vocals comes out to play more eloquently with the benefit of headphones, and it’s a nice touch, adding texture and a hint more of modernity. I’m also a fan of the chosen riffs, as they cut with precision throughout, whilst drummer Mike Malyan underlines his talents very eloquently too.

‘Collapse’ is a monstrous song that may return somewhat to type, but there’s no denying the power and the catchiness of the song’s chorus. It’s one of the more overt metalcore-infused tracks here, but once you hear the chorus, you’ll not be able to get the hooks out of your mind.

And then there’s ‘The Cimmerian’. At over eight minutes, it’s the longest on the record, but it is well worth its length as it explores so much within that time. I love the opening guitar lick and the intensity that hits from there. But even more striking is the way in which we’re taken on a journey through quieter, more minimalist soundscapes where the smoothness of Cizak’s voice really impresses me. It means that the heavier sections make more of an impact, but it laces the song with a really nice melodic aspect which is present throughout, creating an anthemic feel. The acoustic guitars are a lovely touch, as is the delicate cinematic outro to see out the album in its entirety.

If I’m being completely honest, then I must admit that ‘In Stasis’ hasn’t won me over 100%, and I’m unlikely to fervently sing the band’s praises throughout 2022. However, it is an enormous step in the right direction as far as I’m concerned. This is the sound of a band expanding their blueprint and doing it in a way that will no doubt please existing fans and bring new admirers to their cause. There is no denying the fact that Monuments are a very talented and focused outfit, capable of making a really great noise, and I will definitely keep them on my radar in future.

The Score of Much Metal: 82%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Ancient Settlers – Our Last Eclipse – Album Review

Artist: Ancient Settlers

Album Title: Our Last Eclipse

Label: Crusader Records (Golden Robot Global Entertainment)

Date of Release: 1 April 2022

When I was presented with this promo, my first thought when I saw the band name and the artwork was that I’d be taken down a misty, murky path of folk tinged black metal, dark metal, or something relatively Earthy and gloomy at the very least. What I wasn’t expecting was to be thrust neck deep into modern melodic death metal instead. I always like to be surprised, so the initial shock was short lived and I ploughed on regardless, as I do have a soft spot for great melodic death metal.

Formed in 2020, Ancient Settlers is comprised of a multi-national cast, covering the US, Finland, Venezuela, Spain, and Portugal. A sextet, they are formed of Carlos Chiesa-Estomba (guitars), Herman Riera (drums), René González (keyboards/synths), Emmy Reyes (guitars), Antony Hämäläinen (vocals), and Miguel Herrera (bass). I’m not familiar with the band Haboryn, but if you are, you’ll recognise several of these names. Vocalist Hämäläinen has a list of bands to his name, including Crystal Tears, Meridian Dawn, and arguably most famously also had a stint in Nightrage. I think I’m also right in thinking that he may have featured at one time for Amaranthe in their live line-up. Regardless, it’s clear that these guys have some pedigree.

Unfortunately, this debut album, ‘Our Last Eclipse’ is not as good as I hoped it would be if I’m being honest. And there are a few reasons for this. Firstly, I find the material on the album as rather generic and not especially original; I’ve heard music like this many, many times, and despite several runs through, I generally remain a touch underwhelmed by the music. There are some nice catchy melodies at play within some of the choruses and wider compositions, but nothing really stands out to me and clobbers me around the head as I feel this kind of music should do. And the shouty vocals within ‘Memories’ are not my thing at all, and are entirely unnecessary for my taste.

More on the tracks themselves shortly, but the biggest problem with this record is with the production. I fully appreciate that Ancient Settlers came together in a world turned upside-down by the global pandemic which will have made certain tasks a lot more difficult. But ‘Our Last Eclipse’ sounds muddy, indistinct, and worst of all, the vocals are way too far back in the mix. I can’t be the only one to notice this, surely? Maybe I am, maybe it’s my ears. But shouldn’t it be the drums that are situated at the back of the studio, or in a different room, not the vocalist? It’s the impression I get when I listen to this album. In fairness, I get more used to it as the record develops, but it threatens to completely ruin the first impression listeners will get when they hear this band for the first time via opening track, ‘Into The Depths I Ride’.

That said, on a more positive note, I get a bit of a Johan Liiva vibe from vocalist Antony Hämäläinen, although that could be partly down to the production – it’s hard to tell. And that’s a real shame as far as I am concerned.

I want to be more positive however, because there are some strong elements that feature on ‘Our Last Crusade’, including the title track itself. A slower more mid-tempo affair, it is alive with melody and is one of the more memorable songs that I hear here. In fact, I find that Ancient Settlers are actually at their best when they take their foot off the gas and inject more melody. The guys know how to pen a nice melody that’s for sure, and it is this element of their song writing that should be most highly lauded. The faster-paced riffs however, do tend to sound a little samey, although that’s a general gripe I have across the genre with melodeath that’s more metalcore tinged. This is highlighted within ‘Library Of Tears’, another positive composition even if it’s a little long at nearly seven minutes. I like the increased use of synths to add depth, but again, the production could have made them a little more prominent as they can tend to disappear in the mix. When the press release references 80s synthwave as an element of the band’s sound, the lack of clarity with the keys is another misstep unfortunately.

As many of you know, I hate writing reviews that are overly negative because I am generally someone that wants to see the positives in things. Hopefully I have created the balance here between being positive and also honest with my negative comments. There is certainly something there within this band that leads me to believe that a follow-up album could be a lot stronger and more powerful. To do that, Ancient Settlers need a better production across the board, and an injection of something within the music that creates more in the way of their own unique identity. This is easier said than done I know, but if the band can do that, I could see the name Ancient Settlers being spoken a lot more widely in metal circles in years to come.

The Score of Much Metal: 65%

Check out my other 2022 reviews here:

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Aversed – Impermanent – Album Review

Artist: Aversed

Album Title: Impermanent

Label: Independent Release

Date of Release: 19 March 2021

Less is more, right? Right? It’s the clichéd phrase that we always hear and to which many will subscribe. Not in the case of Aversed though. It’s clearly an old adage that has passed them by based on the content of ‘Impermanent’, their debut full-length album.

‘Impermanent’ may be their debut long-player but the Boston, Massachusetts melodic, progressive extreme metal band have released a couple of EPs since forming well over a decade ago. Part of the reason for the delay in bringing this record to fruition has been the members’ involvement with other bands and projects over the years. And so, naturally, there’s a lot of experience amongst the quintet, comprised of vocalist Haydee Irizarry (Carnivora, Widows Rite, Zahra Lux), guitarists Sungwoo Jeong – guitars (ex-live for Begat the Nephilim) and Alden Marchand, bassist Peter Albert de Reyna (Seven Spires, ex-Unflesh), and drummer Jeff Saltzman (Unflesh, Allegaeon (live), Continuum (live), ex-Solium Fatalis)

I’ve had this record for quite some time ahead of release and I’m really glad that this was the case. A quick, cursory listen will not cut it, and it’s not the style of the Man Of Much Metal either. But with ‘Impermanent’, there’s so much going on, you need concentration and regular spins to fully get to grips with the music on offer.

But before I can get to the music itself, I need to cover the lyrical content of ‘Impermanent’, which seeks to delve into the topic of anxiety and depression from a personal perspective, against the backdrop of the collapse of Earth. Given the year we’ve had, it feels like it’s a topic that will resonate with many, with some aspects hitting closer to home than perhaps we expected.

Then there’s the fabulous artwork (Adam Burke, Nightjar Illustration) that drew me in like a moth to a flame, not to mention a very capable in-house production by guitarist Alden Marchand that is always a positive for any independently-released album. Mixed and mastered by Christian Donaldson, it sounds sharp and clear, with enough beef to get across the heaviness of the material.

But it’s in the musical output where Aversed earn their gold star, and stand in line to receive a fair few plaudits along the way. It’s difficult to pinpoint one single style plundered by Aversed because ‘Impermanent’ goes to town, exploring whatever genres and inspirations take their fancy. Rooted in melodic death metal, I also hear progressive metal, straight-up death, jazz, melodic metal and more besides, including the dreaded metalcore, although even this ingredient is handled with aplomb. As I said earlier, less is definitely not more here. But if you’re willing to give ‘Impermanent’ a go, you will be handsomely rewarded, that I can guarantee.

Many of you may have already heard the track ‘Close My Eyes’ as it has been released ahead of the album. If you’re familiar, you will hear a track that is brimming with ability from every member of the band. For starters, it is wonderfully melodic, but not in a saccharine way; it is catchy and memorable thanks to well-placed melodies that compliment rather than take over. Alongside the melodic sensibilities, led by the rich, clean tones of vocalist Haydee Irizarry, you also get sharp, incisive riffs, the kind that you heard at the outset of In Flames’ career for example. You also hear Irazarry’s impressive gruff barked growls, and a strong, confident rhythm section, the bass of Peter Albert de Reyna audible and noteworthy alongside tight drumming from Jeff Saltzmann. It all comes together in great style to leave you in no doubt that Aversed are the real deal.

But, instead of recording another eight tracks in a similar vein, the quintet like to throw in plenty of curveballs to keep things interesting for them and the listener. Take ‘Laboratory’ as the perfect example, following hard on the heels of ‘Close My Eyes’. It is no exaggeration to suggest that this is a dirty behemoth of a track that borrows as heavily from the likes of Morbid Angel and Obituary, as it does from bands more of the black metal ilk. It is a slow, churning, lumbering affair one minute, whilst the next it accelerates at the speed of light. Then there’s the uncomfortable, jazz-infused minimalist section which only adds to the tension, before the drums deliver a pummelling double-pedal assault to the close.

The quiet, mellifluous intro to the title track is gorgeous but within the blink of an eye, the sogn explodes into a frenetic attack, led by superb technical black metal riffs from Sungwoo Jeong and Alden Marchand. The song feels intelligent, grown-up, and well thought out, as if Aversed were seasoned professionals dishing out their fourth or fifth album. The mix of clean and gruff vocals is nicely balanced, the utilisation of light and shade is pronounced especially within the introspective, quiet mid-section, and there’s enough melody to ensure that the song sticks long in the mind.

The progressive, jazzy touches emerge at the outset of ‘Abandoned’ beautifully, but then the entire song is a thing of brutal beauty. Irazarry’s clear vocals soar at points, whilst her gruff delivery feels even more savage than before. The guitars are the scene-stealer here though, as they deliver memorable extreme metal riffs with all the technical bells and whistles, as well as solos that are precise and melodious.

‘Solar Sea’ barely sits still for a second. It is a dense, multi-layered, multi-faceted track, with twists and turns aplenty alongside some killer drum blasts, momentary lulls in extremity, but some of the most complex musicianship on the album. By contrast, ‘Malaise’ feels like it is one of the most melodic tracks on the album. It also feels like it’s a little more linear and straightforward, going for the throat rather than killing by a thousand cuts. Mind you, my feelings can be deceptive.

I could go on, so in typical Man Of Much Metal style, I will. ‘Spiraling’ (sic) is every bit as intense, complex and incredible as ‘Solar Sea’ and others, if not more so in some respects. It is, kind of, the band’s ‘show off’ track, but even this avoids all the pitfalls that could befall it, instead beguiling with its subtle melody and sensational musicality from the collective. The album is completed by ‘Nightshade’, the longest composition on ‘Impermanent’. It returns to a more obvious melodic death metal blueprint, whilst still pummelling the listener into submission along the way with bursts of barely-contained extremity. But as it unfolds, it becomes more compelling, thanks to the introduction of string instruments and a symphonic edge. It’s almost whimsical at the mid-point but it grows in intensity, delighting us to the very end with a fittingly intelligent final section.

Hats off to Aversed because they have done what many have tried and failed to achieve over the years, and that’s to cleverly and smoothly blend technicality, a multitude of styles, and memorable musicality into one final, cohesive product. ‘Impermanent’ is that product and, if you like melodic death metal with intelligence and variety, Aversed’s debut should be one you acquaint yourself with without any shadow of doubt.

The Score of Much Metal: 91%

Further reviews from 2021:

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

You can also check out my other reviews from previous years right here: