Jan 31, 2019

Unleashed (2018) The Hunt for the White Christ 'Review'


Band: Unleashed
Country of Origin: Sweden
Genre: Death metal
Type: Full Length
Format: CD Digipak Ltd. Edition
Length Approx.: 42:00 min.
Release Date: 10-26-2018
Release Label: Napalm Records

IR Classification: Excellent (4.5 / 5)



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A good slab of punishing and catchy, old-fashioned Death Metal.

One of Sweden’s “Big Four” of Death Metal, Unleashed have returned with a new opus, entitled “The Hunt for the White Christ”, and the best way to describe this work is “a good slab of punishing and catchy, old-fashioned Death Metal.” Now, don’t get me wrong: when I say that this is old-fashioned Death Metal is not in the sense that they are relying on the nostalgia factor, but rather than that, they play with so much energy and enthusiasm, without getting rid of the catchiness, heaviness and punishing style that made them stand out since the very beginning.


The album kicks off with “Lead Us Into War”,  a song which I feel has enough potency to get your blood pumping and since the whole record has this sense of aggression throughout each of its eleven compositions, the band has crafted a record that contains enough melody to evoke scenes of warfare, Viking raids, and battles that would motivate listeners to put on their helmets and raise their swords.

Guitar solos abound on this record, but they are not crafted with the purpose of deafening the listener with a trillion notes per second, instead, they are meticulously placed at certain points of the compositions to emphasize mood and enhance the atmospheres.  Guitarists Tomas Olsson and Fredrik Folkare craft some great riffs that, as previously mentioned, combine melodious hooks and riffs that combine atmosphere and brutality, with sufficient catchiness that will grab your attention.

Meanwhile, bassist Johnny Hedlund and drummer Anders Schultz create a solid backbone behind the guitar attack. Johnny also handles the vocal duties, which come off clear and understandable, without losing its aggressive rasp and commanding tone. When it comes to the drum performance, Anders does not lose speed, but rather than just pounding the hell out of the snare drum, his kit work is full of rhythmical variety, working with the guitars to elaborate a scenario that matches the common theme of each song.

Speaking of scenarios and imagery, I need to point out that the greatest example of how the guitars create the sinister atmosphere, comes in the tracks ¨By the Western Wall¨, ¨Terror Christ¨, and ¨You Will Fall¨, My goodness; these tracks have these great guitar riffs that sound so menacing and hostile as if they serve as a prelude before a bloody battle. Just amazing. 



Overall, I believe Unleashed have delivered a punishing lesson on how Death Metal should be done; destructive, catchy, with atmosphere and melody that retains enough brutality.  Outstanding work by this legendary outfit.

Stay True… Stay Metal… Stay Brutal…™

Written by: Juan Jose Montiel

Track List:

01. Lead Us into War │ 02. You Will Fall │ 03. Stand Your Ground │ 04. Gram │ 05. Terror Christ │ 06. They Reaped the Land │ 07. The City of Jorsala Shall Fall │ 08. The Hunt for White Christ │ 09. Vidaurgelmthul │ 10. By the Western Wall │ 11. Open to All the World


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Morbid Messiah (2018) Demonic Paroxysm 'Review'


Band: Morbid Messiah
Country of Origin: Mexico
Genre: Death metal
Type: Full Length
Format: CD
Length Approx.: 36:00 min.
Release Date: 10-22-2018
Release Label: Memento Mori

IR Classification: Good (3.5 / 5)



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They add a pretty malevolent aura to the songs.

This is the very first time I listen to Morbid Messiah, so I was not sure about what to expect about these guys, but just by reading the song titles, I knew that the lyrics were not going to be talking about cheerful or thought-provoking subject matter. The intro track, “Rise of the Rottenness” starts off with strange movie sample, while the guitar riffs create a sinister atmosphere, before breaking up with a destructive musical assault in the form of “Charred Devastation”. This is the first introduction to the vocals, which not only combine the guttural aggression but are a little bit undecipherable.


Curiously enough, I feel as if the vocals act as another instrument themselves because their low frequency serves to add a pretty malevolent aura to the songs themselves. It’s as if you were descending through an abyss, and the vocals serve as a conduit to your ultimate demise, and while you are descending, your head was being tormented by the chants of agonizing victims. Yes, you read right. That’s the type of atmosphere that the vocals create.

When it comes to the guitar work, I have noticed that the guitar tune is pretty low, but again, this serves to a greater purpose, and that is to infect the listener´s ears with darkness and brooding. Tempo-wise, the band does not go full-throttle, but wise-enough, they combine Doom-laden tempos with outbursts of speed, and even though the drum work does not resort to full blasting, they add a combination of atmospheric drumming with sonic assaults of mid-paced blast beats.

The guitar solos are placed on many compositions, and even though they are not overly technical or flamboyant displays of virtuosity, they have sufficient power and conviction to get you to bang your head with enthusiasm. 

Production-wise, this is album is a little bit raw, especially with the guitar and drums. They have a natural sound to them, but it is not excessively raw or overproduced. The bass is mostly lost in the mix, but on tracks such as “Breath of the Ominous”, it gets a little chance to shine on its own in the introductory section.

Movie samples abound, and they are used effectively. For instance, the sample in “Breath of the Ominous” evokes a sense of malevolence, and with the combination of deadly riffing, it creates wonders for the listener.  When you think about movie samples, you might think about Mortician and the excessive amount of movie samples, but be sure that these guys do not rely on them at all.



To wrap it up, this is a fairly good release if you are into straight-forward, sinister Death Metal.  I think that they could benefit from better production work, but their focus on catchy and punishing riffs is worthy of your attention. Check them out!

Stay True… Stay Metal… Stay Brutal…™

Written by: Juan Jose Montiel

Track List:

01. Rise of the Rottenness │ 02. Charred Devastation │ 03. Graveyard Headhunter │ 04. Devoured by Darkness │ 05. Breath of the Ominous │ 06. Crawling in Guts │ 07. Fetid Bloodbath │ 08. Howling from the Grave │ 09. Morbid Messiah/Morbid Invocation


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Sirenia (2018) Arcane Astral Aeons 'Review'


Band: Sirenia
Country of Origin: Norway
Genre: Symphonic / Gothic Metal
Type: Full Length
Format: CD Digipak
Length Approx.: 59:00 min.
Release Date: 10-26-2018
Release Label: Napalm Records

IR Classification: Good (3.5 / 5)



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A challenging task to appreciate countless embedded elements.

I will be very honest with you; I am not a fan of Gothic Metal, period. While there have been albums/bands from that genre that have caught my attention, there have been others that simply don’t do it for me.  There have been plenty of reasons behind my displeasure, whether it may be the overproduction, excessive amounts of elements that make me lose the attention, overwhelming keyboard sections, you name it. But, hey, I have thought to myself that I cannot judge without giving a shot to bands of that style, so here I am reviewing the latest opus from Sirenia.


The opener, “In Styx Embrace” has some good riffs as well as a potent chorus section, accompanied by female, operatic vocals. The masculine voices have this aggressive vibe to them, but there are moments when the keyboards don’t do it for me. They get buried with the overwhelming effects and vocals, but it is in the quieter moments when they stand out, as well as with the acoustic guitars.

“Into the Night” has a quiet and melodious piano section, before the guitars and vocals make an act of presence. Here, the guitars have a groovy feeling, accentuated by an energetic guitar solo.  The combination of masculine and feminine operatic vocals compliments the music, making this track enjoyable, with the drums adding the groove and classic piano lines wrapping things up.

“Love like Cyanide” has this romantic and classy vibe to it with poppy melodies spread throughout the track, but surprise surprise; the album has a section where the guitar riffs evoke a somewhat sad feeling, only to give way to the choruses and closing it with a classical string section.

The track “Nos heures sombres” has some strange effects and this is where I have noticed that the bass stands out, mainly in the quieter sections. Here, the tempo slows down and this song has a groovy feeling, where the great vocal variations set a nice mood, not shying away from catchiness.

In contrast, “The Voyage” starts with a somewhat aggressive guitar section, accompanied by slow but captivating drums. Vocally, there is a sense of sadness, and I noticed that at certain moments, the sadness of the vocals was almost being replicated by the drums. But those effects and samples are a little bit irritating. I think that in this track, the combination of guitar work and drums, as well as the vocals, could’ve been more than sufficient, but the operatic vocals are just a little too much.

The last three tracks commit, in my opinion, the crime of overkill. I felt as if the tracks had way too much going on in them, that there were instants when I just wanted the band to stick to good riffs and the occasional melodic section but they added, in my opinion, lots of unnecessary elements for the sake of adding a majestic touch.



To sum it up, this record is not that bad, per se, but it does have a fair share of flaws. Again, I feel as if the inclusion of excessive elements, such as the samples, monumental operating vocals and extending some of the tracks for far too long make it a hard and exhausting to hear. "Arcane Astral Aeons" it must listen with plenty of time due to the magnitude because it might take a while for you to be able to absorb and noticed all the things that are taking place at the same time.

Stay True… Stay Metal… Stay Brutal…™

Written by: Juan Jose Montiel

Track List:

01. In Styx Embrace │ 02. Into the Night │ 03. Love like Cyanide │ 04. Desire │ 05. Asphyxia │ 06. Queen of Lies │ 07. Nos heures sombres │ 08. The Voyage │ 09. Aerodyne │ 10. The Twilight Hour │ 11. Glowing Embers │ 12. Love Like Cyanide (Edit)*


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Hate Eternal (2018) Upon Desolate Sands 'Review


Band: Hate Eternal
Country of Origin: United States
Genre: Death metal
Type: Full Length
Format: CD Digipak
Length Approx.: 39:00 min.
Release Date: 10-26-2018
Release Label: Season of Mist

IR Classification: Good (4.4 / 5)



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Merciless from beginning to end that's how sound this devilish opus.

Erik Rutan and company return with their sixth sonic assault, aptly titled “Upon Desolate Sands” but, believe me, this is an album that will not accumulate dust in your shelf, not at all. Being very honest, I must say that I am not a huge fan of Hate Eternal, mainly because I have considered their previous work as being overproduced and lacking any emotion or catchiness. Nonetheless, this opus is filled with so many surprises, balancing the unmerciful onslaught of brutal riffs with a pretty dynamic showcase of superb drum work and solid basslines. So, let’s go ahead and take a much closer at what this album has to offer.


The opening track, “The Violent Fury” is just that: a relentless ass-whooping of catchy riffs and rapid drum work, while Erik Rutan furiously barks his commanding vocals, which, at times, can get lost in the background while the guitars and drums take centerpiece, occasionally allowing bassist Hannes Grossmann to delight us with his technical basslines, adding a nice touch to the composition.
“What Lies Beyond” opens in a slow and menacing style, as a prelude for what’s to come. I noticed in the opening riffs, the bass rears its ugly head, and then, the rapid riffing takes place, unleashing the aural assault where Erik combines velocity with a little bit of atmosphere, adding a sense of brooding, before delighting the ears with a great guitar solo. This is a great track that combines a mid-paced tempo with a great amount of speed.

“Vengeance Striketh” once again combines a mid-paced tempo, and the drum work has a “military march” pace to it, but the bass stands out on his own, coming out much clear and accompanying the onslaught of riffs. This track has an instrumental section that has a groovy feel to it, before deconstructing into heavier riffage. Vocally, Erik resorts to a dual vocal assault, which augments the aggression, and to top it off, the closing guitar solo, damn!  Pretty melodious but adds a great touch to this track to close it with style.

“Nothingness of Being”. This track starts off with a pretty sinister feeling to it, combining a somewhat slower pace in the guitars, but the rhythm section counters it with speed. This time, the drum work courtesy of J.J Hrubovcak is a little bit slower and focused on atmosphere, but the work with the double-bass is simply relentless, not slowing down for one bit.  We have another great guitar solo that emphasizes mood over a technicality, which closes this track efficiently.

“All Hope Destroyed”. My goodness, the name fits it perfectly. This track is hell-bent on punishing the listener with its avalanche of heavy riffage and hideous basslines. The riffs combine a great deal of technicality but believe me, the brutality is not sacrificed at all. Added on to that, the drum work is quite varied, combining bursts of speed with plenty of rolls and fills, to match perfectly with the onslaught. Here we have another guitar solo with a good dose of feeling and mood, to wrap it up quite nicely.

“Portal of Myriad” has a pretty strange sounding opening riff, only to break down into a destructive drumming assault. The riffs are quite ominous while the bass compliments the guitars, offering a dual assault of rhythm and mood. Early on the track, we have this moody guitar solo, while the drums slow down just enough for the bass to continue making an act of presence. As the album fades out, it takes a little pause to reprise the strange-sounding riffs of the earlier moments, only to brutalize you once again with its crushing guitar/drum attack.

“Dark Age of Ruin” more than makes up for its title. The opening sequence has an evil sounding guitar/bass combination, in order to make way for the blast-beat assault, which, in this occasion, seems to be focused on delivering as much punishment as possible. There are moments when the bass lines really add a great touch to enhance the song structures, and it is on the brief, but slow sections when it allows the listener to be impressed. The guitar solo on this track has a pretty groovy feel, paving the way for the ending section, which slows down a notch to wrap it up.


The title track starts in an ominous style, with a few feminine chants which set an eerie mood in order for a great assault in all senses, with the three instruments collaborating together to develop one of the strongest tracks of the whole album,  in order to close with an instrumental track, titled “For Whom We Have Lost”, which is nothing short of magnificent, due to its incredible and moody riffs.



To wrap it up, I sincerely believe that Hate Eternal have outdone themselves in this record. The combination of brutality, slow passages, varied and interesting drum work have created a monstrous record that does not shy away from being groovy as well. Production- wise, I think that there is vast room for improvement because, as I had stated before, sometimes the guitars and drums drown out the vocals, and the bass only appears on the slower sections, so I think that this instrument deserves much exposure. Erik and the boys are great musicians, but I think the production needs more improvement.

Stay True… Stay Metal… Stay Brutal…™

Written by: Juan Jose Montiel

Track List:

01. The Violent Fury │ 02. What Lies Beyond │ 03. Vengeance Striketh │ 04. Nothingness of Being │ 05. All Hope Destroyed │ 06. Portal of Myriad │ 07. Dark Age of Ruin │ 08. Upon Desolate Sands │ 09. For Whom We Have Lost (Instrumental) 


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