SOILWORK – The Living Infinite (2013)

Posted: March 8, 2013 in Metal
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Reviewed by Gashley Gruesome

Hails and Horns from Sweden! Soilwork has released another much anticipated album.  Being such a huge fan of Soilwork for the last 12 or so years, this was something I could hardly wait for but at the same time I was terrified because they announced this release was going to be a double album. When I think of double albums I usually feel like things are rushed to put down tracks and only a handful become decent and the rest are filler. When Soilwork released Sworn to a Great Divide sans guitarist Peter Wichers, a lot of people lost interest in the band, believing they lost their main creative genius. Some say they redeemed themselves with Peter returning to record The Panic Broadcast only to announce his departure once more. I, for one believe the rest of the band has a lot to do with Soilwork’s success, so I still had an open mind that this album was going to be solid without Peter since I did enjoy Sworn to a Great Divide despite his absence.  Also regardless of “True Metal Elitists’” hate for what Soilwork has become, giving them only credit for albums like Steelbath Suicide, The Chainheart Machine and A Predators Portrait, I tend to enjoy what they have evolved into and the diversity in Björn Strid’s voice is something that should be emphasized rather than him growling an entire album alone. Don’t get me wrong though, their earlier albums are what hooked me in the first place and still kick total ass.

Without further ado, the first disc starts out with catchy-ass riffs, heavy chugs and blast beats that are not unexpected for Soilwork’s sound. I feel excitement rise as since the beginning starts off so well, I hope I can expect a trend here and it doesn’t let me down. The first 3 tracks “Spectrum of Eternity”, “Memories Confined” and “This Momentary Bliss” are of a similar formula. They begin with heavy screams and growls busting down the gates of hell and break with a chorus that will get stuck in your head for days. They create melodies that manage to tug at your heart strings and make you smile, yet don’t curb the heaviness at all. Björn’s voice is unbelievable on this record! He manages to mix old school screams that I am familiar with from early albums like The Chainheart Machine and Figure Number Five, to clean melodic vocals that are almost an unexpected progressive melody but somehow fit so perfectly into creating that classic Soilwork sound (you know, catchy as fuck). There are also a few tracks on both discs that are a different side of singing for Björn like he’s singing on a lower register or with a different technique, it almost sounds nothing like him. The band is ALWAYS tight when it comes to playing together. It can definitely be heard throughout.  I have seen them live multiple times and despite one show where the sound quality was bad at the venue, it was almost unreal the exact timing from everyone playing as a whole. Guitarists David Andersson and Sylvain Coudret cohesively master these riffs and solos like the metal masters they are. Ola Flink has always made a heavy statement with bass tracks in Soilwork and Dirk Verbeuren of course is a devastating machine on the drums. Sven Karlsson’s keys and synth are unmistakable on a lot of tracks and add such a great element to each song. The placing of his synth is perfect and a lot of times are a standout point on certain songs with excellent solos. The tracks “The Living Infinite I” and “Vesta” both begin with acoustic guitar work which is revitalizing and almost sensual. “The Windswept Mercy” is one of my favorite tracks on the first disc with guest vocals from Justin Sullivan from New Model Army. The ethereal chorus, mid-tempo start out and instant less aggressive vocals are unforgettable and I’ve found myself starting it over right after it was finished to hear it a couple more times.

The second disc starts with an instrumental track which is different, it’s not very long but it’s still a good tune.  Back to the heavy stuff when the second track “Long Live the Misanthrope” begins, which also contains one of the catchiest choruses on the album.  It seems like they spent a lot of time on creating tracks that are unpredictable and even have a more progressive approach, so as a whole it seems that a lot of the typical catchy riff/epic chorus combo is not as repetitive as it has been on other records. They are quite consistent throughout the album though which is a huge relief. What I mean by that is there are no tracks that are filler. All have a uniqueness to offer to the album and the placing of the tracks prevents you from getting bored like you’re hearing the same thing track after track.

In a nutshell, this double album is not their best album to date, but still not disappointing. They try so many new things yet don’t stray from what I have always loved about Soilwork. They have just the perfect mixture of everything to make it not something that sounds exactly like every other album and just enough to make it not sound like a completely different band. Definitely excited to hear some of this shit live this Spring!!!!

Rating: 8/10

Someone’s Knocking at the Door (2009)

Posted: March 7, 2013 in Horror
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Reviewed by Malevolent Mike

If you’re looking for something that will chill your bones and make you jump out of your seat in fear, you’ll likely want to steer clear of this one. If you’re in the mood for some alternative filmmaking that screws with your head a bit, keep on reading.

Someone’s Knocking at the Door isn’t what I would call a horror film, per se, though it does mimic one at times. What we have here is a grindhouse-y, 1970’s throwback cult/exploitation film about drugs, rape, drugs, murder, and drugs. If any of those subjects make you uncomfortable, by all means, avoid this movie.

The film kicks off with a sequence of opening credits against a backdrop of cascading pills and syringes, at which point it becomes clear that oh, yes… there will be drugs. We are immediately introduced to junkie medical student Ray, who is shooting up in his dorm room when suddenly – SOMEONE’S KNOCKING AT THE DOOR. Who is it? Why, none other than the lethal serial rapist tag team of John and Wilma Hopper! Needless to say, our buddy Ray’s day takes a steep plunge from here. He soon finds himself six feet under, and his junkie medical student buddies are at odds with the police, themselves, and a couple of psychotic, savage serial rapists. One of which has a 15-inch member. Okay, maybe this IS a horror film after all…

In truth, it’s more of a comedy. There’s a lot of first-class bad acting going on here, though most of it is intentional. While only a few scenes had me laughing out loud, I was chuckling throughout almost the entire 80-minute experience. Unfortunately, some of the most amusing characters are ones that have the briefest appearances, such as Joe Pilato’s megaphone scene and Lew Temple as the coroner.

Sexual perversity plays a considerable role here, and it leads to some very memorable and over-the-top death scenes. Have you ever seen a vagina swallow a person’s head? That image is gonna stick around for a while. The blood and makeup effects are totally campy and outrageous, as they typically were in the true grindhouse days. There isn’t a whole lot of realism to the practical effects, but I don’t care! A geyser of blood from a gunshot wound makes me feel all warm and fuzzy inside.

Another key component to this film is the abstract editing, particularly in lead character Justin’s drug-induced “flashbacks”. Bob over at Candy-Coated Razor Blades warned me in advance that this movie was “acid-trippy”, and he was right. Some viewers might get a headache from the abrasive flashes of light or the droning audio feedback that occurs in these instances, but to me they enhanced the overall tone of the film. The soundtrack cues are quite clever as well and generate a pretty chaotic atmosphere.

The twist ending is the icing on the cake… it’s not an original twist, and it’s nothing brilliant, but in my opinion it’s the perfect way to end the story and the film as a whole is better for it. Ultimately this is one of those “love-it-or-hate-it” type of films. It’s a bizarre piece of work and the subject matter certainly isn’t for everyone’s tastes. I wouldn’t call it a masterpiece, but I definitely enjoyed the ride.

Rating: 7.5/10

ETERNAL TEARS OF SORROW – Saivon Lapsi (2013)

Posted: March 3, 2013 in Metal
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Review by Mike Macabre

I initially learned about Eternal Tears of Sorrow by researching the history of Kalmah during their “Swampsong” days. At the time EToS had already been disbanded but their back catalogue of albums was fantastic and I became an instant fan.

Fast forward a few years later and you can imagine my excitement when hearing that they were bringing the band back with a brand new album, “Before the Bleeding Sun”. Since their reunion, they have released two very solid Gothic tinged Melo-Death albums. Now their third album since reuniting the band has come out. Saivon Lapsi is a superb album, and exceeds the quality we come to expect out of EToS.

The album is melodic as Hell. It sounds Finnish as Hell too. Think a darker version of Amorphis with synths and you’ve got Eternal Tears of Sorrow. One of the stand out qualities of the band is their keyboards. EToS continues the Finnish tradition of having incredible keyboard lines that hook you throughout the song. I really like how the keyboard lines share the spotlight with the guitars. They also continue the Finnish staple of having keyboards and the guitar share solos. During these moments in the album I just can’t help but laugh and think to myself “Holy shit, this fucking rules”. Just listen to the keyboard/guitar solo in “Legion of Beast” and try to not have the same reaction.

The other thing that stands out with EToS is their vocal performances. Altti Veteläinen has one of the most unique growls in metal. He is one of the very few growlers to make everything coherent, yet his voice is powerful and fits perfectly with the Gothic character of the band. Jarmo Kylmänen has a beautiful clean singing voice, but you’d never know it by looking at the guy. He could be the vocalist of a power metal band. He sounds like a Tony Kakko who spent a bit more time in puberty. The vocal performance of these two are outstanding in the album.

The guitars are just what you would expect in a Melo-Death album. Extremely melodic and very chugging. The melodic leads and solos are where the two guitarists really shine though. Great examples of this are “Every Song on the Album”.

The drums are also just what you’d expect. Double Bass City, and I wouldn’t have it any other way. Heads will be banged throughout this album.
The bass is also what you’d expect, pretty much non-existent. It takes the backseat in the production. It peeks out during the final track, “Angelheart, Ravenheart (Act III Saivon Lapsi)” though. Which, speaking of the track, keeps the epic quality tradition from the last two albums. EToS love to end their album with a bang.

If you like Melo-Death, get this album, and get their entire back catalogue while you’re at it too. You won’t be disappointed.

Rating: 9.5/10

Stand out tracks… “Dark Alliance”, “Legion of Beast”, “Dance of December”, “Sound of Silence”, “Swan Saivo”, “Angelheart, Ravenheart (Act III Saivon Lapsi).

The Raven (2012)

Posted: February 7, 2013 in Horror
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Reviewed by Mikrophagia

John Cusack steps into the shoes of Edgar Allan Poe in this fictitious imagining of the literary master’s final days, directed by James McTeigue (V for Vendetta, Ninja Assassin). The setting is Baltimore, Maryland, and the year is 1849… Mr. Poe is broke, tired, and uninspired. With no more poems to pen or macabre tales to tell, the author struggles to get by via critiquing the work of his peers while chasing dimes with swigs of bourbon. Things take a turn, however, when the town is struck by a string of gruesome murders – each reflecting one of Poe’s grim tales. Poe is quickly recruited by police Inspector Fields (Luke Evans) to help crack the case, putting him in a battle of wits with a madman and a race against the clock to rescue the woman he loves.

This film plays out as a bit of a cross between Tim Burton’s 1999 film “Sleepy Hollow” and any version you choose of “The Phantom of the Opera”, flavored with themes of Edgar Allan Poe’s most recognized works. Despite how awesome that combination may sound, it never quite gels the way it should. John Cusack is a good actor, for sure. Sadly, I think he is capable of much more than what he puts on display with this performance. I’m also not convinced he was a great choice for this role to begin with, but perhaps that’s just my fresh memory of Jeffrey Combs’ portrayal in Stuart Gordon’s “The Black Cat” (2007) talking. The story itself is fairly well-constructed and interesting, though it has its share of glaring potholes. Pacing is an issue at times, with many scenarios feeling a bit rushed, although the 110-minute runtime may be all the more endurable for that. Luke Evans in the role of the police inspector is perhaps the best performance to be found here, but even that only boosts this film above the rank of ‘average’ in short bursts. Another script revision might have done wonders for the final product.

One thing I must commend this movie for is the “Pit and the Pendulum” scene. Poe’s infamously suspenseful device of metronomical execution has been portrayed in film numerous times, usually with its victim either escaping or being killed off-screen so that all we are treated to is the grisly aftermath. Here, we finally get to see the descending blade reach its destination in a blaze of gory! Err… glory.

When all is said and done, fans of Poe’s work may very well find “The Raven” to be quite enjoyable despite its shortcomings. I certainly didn’t hate it. But I do believe that the man, the myth, and the legend of Edgar Allan Poe are worth something more.

Rating: 6/10

CHARIOTS OF THE GODS – “Tides of War” (2013)

Posted: February 6, 2013 in Metal
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Reviewed by Gashley Gruesome

I’ll start by saying that this band from Canada, Chariots of the Gods, is a band you will either love or hate. I picked up their debut album just released in January, “Tides of War”, and was hoping to love them… especially since their name is fueled by mythology and I’ve never heard them before. Unfortunately, I was let down tremendously.

I started the first track entitled “Overture,” an intro of drums and chanting, that kind of made me think I was listening to an audio clip of the movie Passion of the Christ or something with eerily misplaced keyboards that sounded similar to the sound of Mortiis (I actually feel kind of bad for saying that because I love Mortiis). The next track, “Seventh Weapon” kicks in and is heavy as all can be. Still, I’m not impressed as it seems this is something I have heard before. Then it gets worse when I realize the vocals are like a barking chant. The vocalist is not a bad singer, he has a decent metal voice, but they upped it way too much with backup vocalists shouting and reverberating lyrics. I’ll stop myself from completely bashing them for just a minute to say that they are actually very good musicians, and they play this style of music VERY well. The production quality is great and they have pretty talented guitar players with okay solos. However, I really hate the fact that I guarantee I can hear every single one of their favorite bands in their style of playing and on this entire album. That first track has Hatebreed shouts, and As I Lay Dying riffs written all over it. Moving on to other tracks like “Blind Assassin”, “Ambrosian Wings”, “Tides of War”… actually (insert every other track on the album here)… sounds the same. Same formula, same galloping riffs with little happy scales thrown in and many of the same tempos. It sounds like a mixture of Atreyu, Shadows Fall, Children of Bodom and Trivium. I’m not bashing any of these bands either per se, but these bands are successful because they do what they do well and have been doing it for a long time. They stood out with distinct sounds and even so, a lot of them have evolved into something slightly different. This is 2013 and for a brand new album, this is so over-played. At times there were tracks that did have Iron Maiden-ish guitar parts and a smidge of thrash, but it’s probably the only notable thing worth mentioning. I couldn’t wait to get towards the end of the album for there is a track titled “Unborn” that features guest vocals from Aleksi Sihvonen who was in Norther and Imperanon. That was quickly crushed when I heard it sounded like (SURPRISE!) the rest of the album. The track titled “Snow Falls on the White River (1914)” is an instrumental track that has mostly mellow guitars and piano. The piano is really unfitting in the track and it seems like it has no relevancy to the rest of the instruments. And this makes no sense when the next track starts with a disappointing bang again. In a nutshell this is a very generic, yet very energetic album. It’s heavy none the less, but not in an interesting way. Little to no variation on songs, or sounds. It’s so redundant it makes me wonder how the band didn’t realize this themselves. Like I said you will either love it or hate it, and I appreciated the fact that they’re good musicians, but hated the fact that it almost seemed like they have no imagination and are copying their idols. This band would have been big if they came out in 2001 when this type of “melodeath” was gaining more popularity. If you’re not an 11-year-old boy who just discovered metal, you should probably pass on this one.

Rating: 3/10 for effort.

Jack Frost (1996)

Posted: January 25, 2013 in Horror
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Reviewed by Mikrophagia

Michael Cooney’s “Jack Frost” (no, not the Michael Keaton one) is a film that has reached cult status over the years for a few good reasons: poor acting, “American Pie” star Shannon Elizabeth’s film debut, and for being the first film in history to feature a mutant killer snowman. Why did it take until 1996 for someone to make a film about a mutant killer snowman? Because it’s a fucking stupid idea.

So stupid, in fact, that it works.

The story goes like this: Small-town sheriff Sam Tiler (Christopher Allport) busts the deranged serial killer Jack Frost (Scott MacDonald) in a routine traffic stop. On the night that Frost is to be executed, the transport vehicle delivering him to his fate collides with a tanker truck carrying a cargo load of an experimental chemical used for genetic research. Jack manages to escape his restraints, but becomes covered in the mysterious substance before he can escape. The chemical eats Jack’s flesh and leaves his remains to dissolve in the snow, leaving no trace of the killer behind. Shortly thereafter, bodies begin turning up, and it’s up to Sheriff Tiler and Chuck Norris-lookin’ motherfucker Agent Manners (Stephen Mendel) to protect the good citizens of Snowmonton from a vengeful, bloodthirsty… mutant killer snowman.

Well obviously now we’re dealing with a horror-comedy, and those tend to be hit-or-miss. My opinion, we have a hit here. True, the acting is a little subpar at times, but bad acting in the mid-’90s wasn’t what it is today, as far as horror films go. Plus it’s to be expected when you’re dealing with mutant killer snowmen, and how about that snowman? Much of his actions are left to the imagination, at least until the final act. Fact of the matter is that special effects weren’t quite the same back then either. Perhaps that’s for the best, as this film is delightfully lacking in terrible CGI. The snowman’s arsenal ranges from corny quips that will have you shaking your head to some rather laugh-out-loud hysterical antics that are genuinely hilarious, and his methods of murder are inventive enough to keep things interesting. Not the least of which is rape… is rape funny? No. Is brutal snowman rape HILARIOUS? Yes. Yes, it is.

From the gleefully cheeseball “storytime” opening sequence, my interest wasn’t lost once during the viewing of this film. As ridiculous as the concept may be, “Jack Frost” manages to be both clever and amusing, if not quite a masterpiece by any stretch of imagination. Queue it up next holiday season, crack open some brews, and I doubt you’ll be disappointed.

Rating: 7/10

ÆTHER REALM – “One Chosen by the Gods” (2013)

Posted: January 17, 2013 in Metal
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Reviewed by Mike Macabre

Epic Viking/Pagan Melodic Death Metal…  Remember your first taste of this genre of music with the debuts of Ensiferum and Turisas?  Finntroll and Moonsorrow?  Or if you are a total connoisseur: Windir, Mythotyn, and Falkenbach?  It was a magical listening experience.  Mixing melodic death metal with folk instruments and melodies was a breath of fresh air, and I became an instant fan.

When I got some cash I wanted to go to one of the European metal festivals to finally see these bands play live.  I still do, but Hell, if you have been following the genre at all you realize that taking a trip to Europe is no longer necessary to get your fix of Metal Pagan Viking Warriors who piss epic.

I like to think that Amon Amarth excessively touring the states opened the floodgates for these bands to come across the Atlantic.  Now, with Paganfest and other annual shows, you can see a handful of these bands on one bill.  But why stop there?  It is safe to say that every major US city has their own Epic Viking Pirate Pagan Saxon Battle Melodic Death Metal band.  Like children emulating their favorite Power Ranger moves, it was bound to happen.

And FUCK, so this is what happens when the kids are more badass than the show…

Æther Realm – an aforementioned band from Greenville, North Carolina, has released their debut album “One Chosen by the Gods”.  So let’s break it down track by track.

1) Journey of Discovery – The mandatory instrumental intro track, complete with a bevel of synths and an army of monks singing “Ohhh”.  You have heard this before, but damn is it a guilty pleasure and gets you pumped for what’s about to come.

2) Hourglass – A very melodic track.  I really like the fierceness of the drumming on this song.  It is littered with shred guitars and a very nice melodic lead at around the 2:40 mark.  And what’s that? Yes, you can actually hear the bass guitar doing the very same lead at the 3:00 mark.  Bravo.

3) Æther Realm – A viking melodic death metal album wouldn’t be complete without a song that uses a triplet riff.  Ride that horse to war.  Afterwards, the riffage doesn’t stop.  At the 1:55 mark it goes into guitar solo mode.  At this point I am really appreciating the mix of this album.  The solo takes the front from the vocals and shreds fantastically.  It then ends with a key change.  This will be a great live song.

4) Swampwitch – With the track title, I can’t help but wonder if Kalmah was a source of inspiration for this song.  So far it is the heaviest track and has blast beats, but at the same time is still very melodic.  Especially that very nasty dual solo.  These guys are very proficient with their instruments.

5) One Chosen by the Gods – Holy Shit.  Right off the bat this is my favorite song.  I am pretty sure the band found a way to distill pure epic and inject it into their instruments for this track.  This is everything I love about the genre all in one.  Double bass, tremolo picking, and a great chant that I am sure is going to include every member of the crowd when played live.  It’s heavy as fuck, full of brutal riffs, and synths that perfectly compliment the song.  Yup, it’s melodic too with monk “ohhhs”.  It’s got everything.  This is where Æther Realm surpass their idols.

6) Ravensong – This sounds rather power metal in the intro.  However, it drops that and goes into pure shred. I like how the bass is prominent in this song.

7) Winter’s Grasp – This is a very guitar-heavy song.  They are all over the place, dancing with melody.  The synths in the middle are very nice and add a little bit of atmosphere.  The double bass is brutally fast as well.  A very interesting song that changes tempo a lot.

8) Odin Will Provide – This sounds a lot like Amon Amarth in the beginning. Then, fuck yes, triplet city!  Very solid double bass during this song.  I like the main melody line as well.  The tremolo picking melodic line at 2:20 with the double bass is awesome.  I am a sucker for this stuff, and doesn’t get much better than this.  To me, this is the ultimate horns in the air song on the album.

9) Oak – Holy shit, is that a bit of  Wintersun I hear in this song?  The choirs singing along in the chorus sound fantastic.  Again, melodic as all Hell and the solos are top notch.  And just like the start of the album, it finishes with a synth instrumental segment that makes you remember and appreciate the journey.  A great finish to a great album!

The production job of this album is top notch.  It is very professional and sounds like Nuclear Blast / Century Media quality.  A lot of work was put into this album and it shows.  I really like the rawness found in the vocals.  There is real emotion and effort in these vox.  It does not sound like just another walk around the block – Petri Lindroos that means you…  No, this sounds like those first few Ensiferum albums in its raw effort and passion.

However, if there is only one gripe I have with the album, it is that it needs to slow down a bit at times.  An “Old Man / Little Dreamer” would make this album nearly perfect.  But don’t let that stray you away from it, this is among the best of the genre in years.

Æther Realm’s “One Chosen by the Gods” is just about as good as it gets.  I highly recommend this album to anyone who is a fan of the genre.  Get it, the magic is back.  And while you’re at it, also pick up Brymir’s “Breathe Fire Into the Sun”, you’ll thank me later.

Rating: 9/10

Texas Chainsaw 3D (2013)

Posted: January 8, 2013 in Horror
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Reviewed by Mikrophagia

Nearly forty years ago, Tobe Hooper paved the way for a whole new generation of horror films with “The Texas Chainsaw Massacre”. Before Freddy, before Jason, before Michael Myers… there was Leatherface. The Texas Chainsaw Massacre brand is one that still commands a lot of respect today, so naturally someone had to go and milk the cash cow once more. The only question is, just how fresh is this milk we’re being fed?

Texas Chainsaw 3D picks up right where the original film left off (effectively cancelling out three sequels), opening with some stock footage to give you a quick recap on how things went down. After surviving  the bloodbath that befell her friends, Sally Hardesty (Marilyn Burns) has escaped the clutches of Leatherface and his deranged brothers. The small town of Newt, Texas quickly assembles a lynch mob to avenge the tragedy, and before long the Sawyer family farmhouse is burnt to the ground with all of its inhabitants presumed dead. All but the baby, who is slightly burned but otherwise alive and well. Said baby is taken away from the carnage and the town celebrates the success of their vigilante justice. Fast forward to present day, and 20-something Heather Miller (Alexandra Daddario) is about to embark on a cross-country roadtrip with three of her friends when she learns she has inherited an estate in Texas from a grandmother that she never knew existed. She then finds out she was adopted and, thoroughly pissed, talks her friends into making a quick detour to check out the new digs. Believe it or not, they get more than they bargained for.

Without giving away more of the “story” as it were (it’s mostly incomprehensible drivel from here on out), let’s get to the meat of this review. My biggest issue with the film, aside from the fact that it’s entirely unremarkable and unneccessary in general, is that continuity is thrown out the door right from the start. The Sawyer clan has inexplicably multiplied, with a number of family members who didn’t exist in the original film now present for the lynching. One of these new additions is Gunnar Hansen, who played the original Leatherface. Genre favorite and fellow franchise alumni Bill “Chop-Top” Mosely portrays Drayton Sawyer in place of the late Jim Siedow, and John Dugan reprises the role of Grandpa, with all of two seconds worth of screen time. This power trio could have easily made the film much more enjoyable had they not been killed off within the first ten minutes… sadly, they simply serve as a cheap homage to the original.

Leatherface is played by Dan Yeager this time around, who doesn’t do a whole lot to add to or subtract from the character, but then again he isn’t tasked with much. When you take away a mute, mentally challenged psychopath’s family, all he’s left to do is be sad and kill everybody. The fact of the matter is, Leatherface is just a lot more fun with his demented brothers around. He does a decent enough job with the being sad and the killing everybody, but as a lone wolf he’s lacking substance. The rest of the cast is mostly bland as well, just another incarnation of your typical contemporary horror film, mix-and-match stereotype bunch. They’re not smart, they’re not funny, and their life expectancies are well-deserved. The only admirable role here is that of Sheriff Hooper (Thom Barry), who blows his fellow cast out of the water by leagues. The third act brings about a twist that is interesting enough in itself, but falls flat due to the lack of foundation around it. Had everything leading up to this point not been so underwhelming, there might have been more hope for the final product.

In the end, what we have here is a bit of decent gore, one great actor and a more than capable twist. What we don’t have is a lot of suspense, a lot of character depth, a lot of attention to detail and a lot of thought. The 3D gimmick has its moments, but in the end it’s just a gimmick. The only purpose it serves is to distract you from the lack of quality you’re getting from every other aspect of the movie. When the credits roll, you’re left with nothing more than the sad realization that if the producers double their money on this venture, in a couple of years we can do this all over again… more than likely with even murkier results.

Rating: 3.5/10

INCANTATION – “Vanquish in Vengeance” (2012)

Posted: January 4, 2013 in Metal
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Reviewed by Gashley Gruesome

INCANTATION has always been about producing death metal with classic themes of the occult, anti-religion and pure blasphemy. Of the 20 years they have been around they never changed the way death metal is supposed to sound. All the way from the beginning of their debut “Onward to Golgotha,” to later releases leading up to their newest, “Vanquish in Vengeance,” they have withheld their rank on the death metal ladder. The music of Incantation hasn’t become as accessible as some of the more popular death metal bands spawning from the 90’s, but with the new release I now notice that a little rust has worn off and you can see the clean metal shining through the surface.

After many listens through, “Vanquish in Vengeance” was not disappointing. Incantation proves that you don’t have to change your sound, or try anything different or elaborate to keep fans interested. It’s clear to me that the production on this album is a stride better from what I’m used to hearing from this band but the fundamental Incantation is still there. From start to finish it is a slaughter fest, topped with your brain being thrown in a meat grinder, and your face being smashed with a sledgehammer. Need I say more? It exhibits mid-tempo beats throughout, melodic doom riffs with occasional shrieks and kick-ass solos that make me and I’m sure any other fan of the band/genre REALLY FUCKING HAPPY.  Some tracks like “Legion of Dis” and “Transcend into Absolute Dissolution” that begin with slow chugs on the guitar tied with the drums timed perfectly (slow head bang) have developed into some of the heaviest songs on the album. Not long after the slow chugs come the blast beats and furious guitar/bass work assaulting your ears like Incantation is notorious for!

The malevolence of this album is such a treat. I’m really glad I picked it up and gave it a chance. I must say that I first heard Incantation years ago and to be honest, they didn’t really stand out to me. I have been a longtime fan of extreme metal so sometimes it all starts to sound the same. I enjoyed what I heard on their older albums but they quickly became CD’s that got lost under the passenger seat of my car. I think the grittiness of the sound was very old school and is part of who that band is, but this newer higher production sound is very refreshing. It’s as if they are still OSDM, but are sinking deeper into the hellish death metal abyss. While I have become more of a fan with this album, it is still similar to the Incantation I remember. They took the old and made it new again. This album makes me want to go back and listen to their older stuff and see if maybe I was missing something! All in all I’d say it is an excellent record! One of my top favorites of the genre to date!

Rating: 8/10