Tag Archives: old school death metal

The Lurking Fear – Out of the Voiceless Grave – Album Review

The_Lurking_Fear_2017_Cover

Artist: The Lurking Fear

Album Title: Out of the Voiceless Grave

Label: Century Media Records

Date Of Release: 11 August 2017

I could be wrong but I’m pretty certain that Tomas Lindberg has never been involved in any band, project or record that has been anything less than solid. In fact, the vast majority of the material in which he has played some part, has been a lot better than ‘solid’, with much of it falling into ‘excellent’ or even ‘classic’ territory. It’s one heck of a list too, but most will be familiar with the Swede and his caustic gruff vocals as a result of his work with the peerless melodic death metal behemoth At The Gates. Personally-speaking, I also want to tip my cap to the criminally underrated Nightrage whilst I’m at it.

And now, not content with everything he has achieved to date, Lindberg pops up as the vocalist for The Lurking Fear, a brand new band that will naturally attract the dreaded ‘supergroup’ tag. Joining Lindberg is none other than his At The Gates sticksman Adrian Erlandsson, guitarists Jonas Stålhammar (Crippled Black Phoenix, God Macabre) and Fredrik Wallenberg (Skitsystem), as well as bassist Andreas Axelson (Disfear).

The band moniker is inspired by a short story written by H.P Lovecraft but apparently, that’s not where the inspiration finished, for it was musical inspiration that pulled this impressive quintet together in spite of their demanding day jobs. To illustrate this point, according to the press release, the guys came together and incredibly composed 18 songs in just two months.

‘Out Of The Voiceless Grave’ has since been trimmed down and thus features twelve tracks with a brisk running time of a little over 42 minutes. But what a 42 minutes it is, especially if you have a weakness for old-school death metal. This is a record that has clearly come from the modern era but which is imbued with many of the traits that made death metal so essential some twenty or thirty years ago.

What I hear is a record with a raw, nasty intensity to it as well as a bleak, suffocating atmosphere. The music is well-honed and tightly-performed but there’s enough fluidity to allow it to avoid sounding overly-precise or sterile. Instead, coupled with a production that blends the best of old and new, there’s an organic aspect to it, making it feel like the music lives and breathes.

Press_Photos_07

Credit: Martin Ahx

The Lovecraft-inspiration doesn’t cease at the band moniker either, as a sense of darkness and foreboding, in keeping with the literature of the Victorian/Edwardian author, looms large over ‘Out Of The Voiceless Grave’ right from the off. The opening instrumental title track provides an unsettling and clandestine soundtrack, murky and depraved. It may be a wasted track for many, but importantly, it sets the tone of the album, a tone that’s consistent as the record develops.

Those left in any doubt about the rhetoric surrounding The Lurking Fear and their love of old-school death metal need only listen to the opening few bars of ‘Vortex Spawn’ to be convinced. It might not be the best track on the record but it is an opening statement of real intent, switching between all-out speed and swirling lead guitar solos to more of a plodding, doomy pace, allowing the guitars to introduce some memorable riffing in that ever-so-familiar tone.

Next is ‘The Starving Gods Of Old’ and as it kicks in, I can hear more than a touch of thrash within it. It is also a much stronger track overall, with a break-neck pace for the most part, juxtaposed with a smattering of groove and topped off by a wild lead solo that threatens to spiral out of control almost as soon as it begins.

‘The Infernal Dread’ reintroduces the sounds of the opening instrumental before delivering something a little more melodic and immediate. The sound of tolling bells is a nice touch, injecting a little more atmosphere into the music but regardless, this is a very strong track.

After a few spins however, the realisation dawns on me that ‘Out of the Voiceless Grave’ is markedly stronger in the latter stages. I like the ominous mid-section stomp of ‘With Death Engraved In Their Bones’ amongst others, but by track seven, the magic happens on a more frequent basis as far as I’m concerned.

‘Teeth Of The Dark Plains’ begins in standard bruising fashion but just after the mid-way mark, the guitars have some real fun, delivering something more NWOBHM within the confines of their extreme metal cocoon. It’s a masterstroke, proving that there is more to The Lurking Fear than just out-and-out savagery and I like this album all the more for it.

Some spoken-word samples are injected into a slower section of ‘The Cold Jaws of Death’, giving the track a vague Gothic feel, which I hadn’t anticipated, whilst closing track, ‘Beneath Menacing Sands’ slows the pace more consistently, and brings the record to an end in a much more ponderous and overtly melodic manner, albeit without losing any of that atmospheric darkness that fits the Lovecraftian themes so well. In between, both ‘Winged Death’ and ‘Tentacles of Blackened Horror’ deliver yet more powerful and deliciously caustic content.

I think it says something about my personal tastes as well as the strength of the death metal releases in 2017 that an album this good is unlikely to be at the top of my list this year. Nevertheless, if you’re after a lovingly and expertly crafted death metal album that embraces a bygone era of the genre with authenticity, then this filthy, raw album is the one for you, without doubt.

The Score Of Much Metal: 8.75

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

Prospekt – The Illuminated Sky
Wintersun – The Forest Seasons
Witherfall – Nocturnes And Requiems
Tuesday The Sky – Drift
Anthriel – Transcendence
Decapitated – Anticult
Cosmograf – The Hay-Man Dreams
Orden Ogan – Gunmen
Iced Earth – Incorruptible
Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Half-way through 2017 – the best so far – Part 3

Welcome to the third and final part of my round-up, looking at the best albums to have been released during the first half of 2017. It is an eclectic list overall, where there’s room for extreme metal and progressive rock alike. But for someone who has wide-ranging tastes with a rock and metal framework, this is exactly what I expected and it is great to see that 2017 has, so far, delivered the goods across a decent breadth of genres.

If you have missed the previous two installments of this series, click the following links:

Half-way through 2017 – the best so far – Part 1
Half-way through 2017 – the best so far – Part 2

deserted_fear_-_dead_shores_rising_cover_2016Deserted Fear
Dead Shores Rising

Just thinking about this album puts a smile on my face. It is pure, unadulterated and undiluted old-school death metal and it seriously kicks ass. But, whilst the compositions themselves reek of days gone by, the production is bang up-to-date. This might put off some purists but for me, it just makes the entire listening experience all the more impactful and powerful. If you listen to this but fail to bang your head or grin like a loon, the chances are that you are either not a metal fan, or you’re dead.

“I remember the days when I heard Entombed for the first time or Obituary, Dismember or even At The Gates. To a greater or lesser extent, these are all good reference points for the output of Deserted Fear and I get the same kind of overall feelings listening to ‘Dead Shores Rising’ as I did when I first listened to the aforementioned. The power, the brutality, the malevolence, the clandestine melodies, and the more overt hooks – it is all there and it is thoroughly absorbing. This is the kind of no-frills, headbanging, groove-laden death metal with a hint or two of melodeath that I really enjoy listening to.”

“I have absolutely fallen for the immense charms of Deserted Fear and this, their third full-length studio album. ‘Dead Shores Rising’ is a totally compelling album that has completely renewed and reinvigorated my love for death metal. It is bold, it is savage and it kicks some serious butt. What more could you possibly want?”

Read the full review here.

SOM412-Solstafir-1500X1500px-300dpi-RGBSólstafir
Berdreyminn

Having been blown away by their previous album, ‘Otta’, I was desperate for Sólstafir to repeat the trick with their latest record, ‘Berdreyminn’. It was always going to be tough given the strong connection that I have with ‘Otta’, but I have to say that Sólstafir have not disappointed. I can say that with even more conviction now that I have had a chance to hear the material in the live setting where it came alive more strongly and made even more sense. Packed with atmosphere and emotion, it beautifully conveys the bleaker recesses of human feeling, whilst painting glorious vistas in the mind of their striking homeland, Iceland.

“And what Sólstafir have succeeded in doing so eloquently with ‘Otta’ and now this new record, ‘Berdreyminn’, is give voice to the natural splendour of their native land, as depicted in the evocative cover art work courtesy of Adam Burke. Fragile and brittle melodies alongside quiet and calm soundscapes give rise to introspective thought and an appreciation of the beauty of their homeland. But juxtaposed with this are sections of grittier, heavier and more powerful swells and eddies of sound that serve as a timely reminder that the beauty can be deceptive, ready to ensnare those unprepared for the harsher, more unforgiving realities of the oft bleak and barren land.”

“…how can one fault music that has such heart, such life and such majesty? More importantly for me though, ‘Berdreyminn’ serves to merely strengthen my deep love and affinity with Sólstafir’s homeland. And for that I am forever thankful.”

Read the full review here.

Final ArtworkAsira
Efference

Over the years, I have become a big fan of the movement known as ‘blackgaze’, the genre that seeks to blend the extremity of black metal with the melodic intensity and beauty of shoegaze. When I thought of blackgaze in the past, I’d immediately call to mind the likes of Alcest or Amesoeurs. But now, in 2017, I can confidently add the name Asira to the list. For a debut outing, ‘Efference’ is a stunning body of work that delights at every glorious twist and turn.

“…the skill of Asira has meant that the final product sounds so effortless and so simple. The warm ambient and atmospheric sections sooth and embrace you, whilst the melodies catch your ear almost immediately. And then, even when these passages are replaced by the naked aggression of cold and icy black metal, sometime abruptly, the juxtaposition doesn’t feel forced or clunky in any way. The compositions are ambitious and grand in scope, but they also feel homogenous and eloquent.”

“On the basis of ‘Efference’, I can only predict big things for Asira. If their debut album can be so ambitious, cohesive and assured, what on earth will their second, third and fourth albums sound like. We can only wait and see. However, for now, content yourself with the fact that there’s a new band in existence that has so much potential and simply immerse yourself in ‘Efference’. As blackgaze goes, this is one of the best I’ve heard in a long, long time.”

Read the full review here.

16729381_10155037235405439_4788700761726639376_nLonely Robot
The Big Dream

In my eyes, John Mitchell can do no wrong. Whatever band he is involved with, be it Arena, It Bites of Frost*, the results are always fantastic. And then, when he stretches his musical wings and goes it alone, the results are equally as compelling. ‘The Big Dream’ is John Mitchell’s sophomore outing under the moniker of Lonely Robot, where he is responsible for everything aside from the drums. In keeping with the debut, it is an album of lush and hugely cinematically-tinged progressive rock full of depth and musical eloquence.

“…ultimately, I am blown away by this album, regardless of the meaningful threads that clearly run through it.”

“I am a big fan of the Lonely Robot debut, ‘Please Come Home’. But if anything, I think ‘The Big Dream’ is even better…I just feel that the music itself is just that little bit stronger. It is definitely more consistent, simply because there isn’t a wasted moment, a weaker track or a let-up in the quality on offer. It takes its time to work its magic though, so if you feel uneasy or underwhelmed after a first spin, listen again. And then again, several times more. The payoff is well worth it.”

Read the full review here.

nova-collective-the-further-sideNova Collective
The Further Side

Normally, I vehemently dislike instrumental music, particularly when the music is technical fusion. However, like all rules, there is an exception and the exception to this self-imposed rule goes by the name of Nova Collective. Featuring an all-star cast, spearheaded by Haken’s Richard Henshall and Dan Briggs from Between The Buried And Me, there was no way that the output would be poor. But what I wasn’t expecting was to actually become engaged with the music and absorbed by it. Unlike many other records in this loose genre, the music is more than background noise; instead the compositions are well crafted and intelligent whilst also remaining memorable.

“I like this album. I really like this album. Naturally as you might expect from a quartet who fuse prog with jazz, classical and other world music, the complexity is very high across the board as is the technical prowess and the individual dexterity of each member, demonstrating beyond doubt that they are in complete control of every note.”

“For the first time in ages, possibly forever, I am listening to an instrumental progressive jazz fusion album and I am not bored to the very core of my soul. Instead, I want to press play and listen to it all over again. Maybe I am maturing and with that, so are my musical tastes? Quite possibly. However, I think it has more to do with the fact that Nova Collective have actually written music that is intelligent and challenging but that is also vibrant, melodic and engaging. Bravo, Nova Collective, bravo.”

Read the full review here.